TT 753 

.V7 
Copy 1 



l:°:iSIGNING 

for 

^ r t-Mc c d Ic WO r k 

'ft 




Guido von Horvath. 



DESIGNING FOR 
ART -NEEDLEWORK 



A PRACTICAL TEXT BOOK 

IN EIGHT LESSONS, WITH 

FORTY DIAGRAMS AND 

TWELVE PLATES 




By GUIDO VON HORVATH 



THIS COURSE IS BASED ON THE P. A. F. 

MOTIF PLATES AND SCALLOP MARKER, 

WHICH ELIMINATE THE DIFFICULTIES 

OF FREE HAND DRAWING 









Copyright, by Guido von Horvath 
1915 



/ 
SEP 15 1915 

©C1.A410448 



TABLE OF CONTENTS 



Introduction. 

First Lesson. 
The Course. 
The VON System. 
A Short Cut. 
The Theory of Motifs. 
The Practical Use of Motif Plates. 
The Escalop Marker. 

Second Lesson. 

Preparation for the Work. 

Fundamental Theories. 

The Parallel Method of Balancing a Design. 

The Central Method of Balancing a Design. 

The Freely Balanced Design. 

Third Lesson. 

Objects of Embroidery. 

Combining the Parallel and the Central Methods. 

Combining the Three Methods. 

The Objects of the Art Needlework Designer. 

The Objects of the China Decorator. 

The Use of the Escalop Marker. 

Fourth Lesson. 
Sizes. 

Designing the Oval Centerpiece. 
Design for Oval Piece. 
Materials. 
Special Advice to the Student. 



Table of Contents 

Fifth Lesson. 

Using the Motif Plates Direct on Material. 

Designing a Baby Pillow, a Square Cushion, a Centerpiece 

Direct on Material. 
Irregular Forms. 
The Doubly Reversed Forms. 
The Singly Reversed Forms. 

Sixth Lesson. 

The Triple and Sextuple Balance. 
The Quintuple Method of Balancing. 
Lingerie and Dress Designing. 
One-piece Gown Designing. 
Three-piece Corset Cover Designing. 

Seventh Lesson. 

Designing Dresses and Other Wearing Apparel. 

Infants' and Baby-wear. 

Children's Dresses. 

Designing for Dresses in General. 

How to Design Dress Accessories. 

Lingerie Designing. 

Cross Stitch Designs and How to Make Them. 

Eighth Lesson. 

Where Embroidery and China Designing Meet. 

Towels and Pillow Cases. 

Sources of Originality. 

The Importance of the Embroidery Stitches. 

Color Selections. 

The Commercial Side of Embroidery Designing. 

List of Woman and Household Publications which Buy 

Designs. 
Syndicatmg Your Designs. 
One Important Thing. 




INTRODUCTION 

m 

HE instructions contained in the lessons of this 

course are strictly confidential and for the sole 

use and benefit of the student. The lessons, 

therefore, should not be given or loaned to 

others. 

The motif plates and scallop marker are inventions for 
which application of U. S. letter of patents are made and 
the manufacture of the same is the sole right of the in- 
ventor. 

A careful study of each lesson is warmly recommended 
before proceeding with the actual work. Each lesson is 
a stepping stone forward and it is in the student's interest 
to lay as solid a foundation for ultimate success as possible. 
By mastering the details of each lesson, success is assured. 

This system of designing for art-needlework is based 
upon Mr. von Horvath's inventions and his own actual 
experiences and is, therefore, in a way, a record of his 
own success in this art. It will be found an easy matter 
to follow his guidance and to reach efficiency in a short 
time. 

The main plates which accompany the respective les- 
sons have been purposely left separate from the booklets. 



Introduction 

so that the student may, at his convenience, study them 
v/ith any lesson or design in the makmg. 

We advocate the development of individuality from the 
beginning. The student who is brave enough to use her 
own good taste will be the most successful. There are 
fashions in this line of designing which must be consid- 
ered, but the one who can be original and create new 
things which are in line with the dictates of Queen 
Fashion, is the one who will reap the rewards. 

Besides the lessons, an encouraging and upbuilding 
criticism is assured to every student. 



I 



FIRST LESSON 



m. 



THE COURSE 

THE object of this course is to give those who possess 
a natural abihty to create beautiful objects in art- 
needlework a chance to develop latent talent without 
the necessity of procuring a special training in drawing. 

Thousands of people have the desire to express their 
originality in the designer's art; they have inherent good 
taste and they long to develop the charming, fresh ideas 
which come to them, but they have no means of knowing 
how to put their designs on a piece of paper, let alone 
putting them on a piece of linen which can be embroidered 
into a valuable finished art product. Their lack of ex- 
pression comes from one thing: They have never had 
the opportunity to learn the use of a crayon or pencil. 

For those who desire self-expression in this immensely 
popular line of art, this system of designing should be a 
real blessmg. 

This course is to the designer aspirant what the pen is 
to the writer: merely a tool devised to aid you in your 
desire to create new designs. It is devised so simply that 
you cannot fail to succeed, if you have a real desire and 
talent to design flat ornamentations for the various pur- 
poses of art industry. 

The von Horvath system opens up a new profession 
wherein the investment is small and the chances of success 
are great. 

To anyone who has observed the beautiful objects in 
this field, it is evident that there is a vast opportunity for 



8 Designing for Art-Needlework 

decorative designers. There are hundreds of specimens 
of the decorative art on all sides. Wall paper, embroid- 
eries, carpets, stained glass, burned wood and leather, 
china and what not, all these belong in the designer's 
realm, and all have been originated by someone before 
being reproduced. 

Why should YOU not be one of the successful de- 
signers? 

The trend of present-day taste is more and more toward 
originality. The dress that is a model, and not a repro- 
duction of thousands just like it, is naturall}^ more val- 
uable, and women of discriminatmg taste are learning to 
express their individuality not only in gowns, but m every 
other way. 

The von Horvath system of designing gives YOU the 
opportunity to cater to this individual taste that is being 
roused, and it is in YOUR power to fill a long sought de- 
mand to give originality to art-needlework. 

Finally, there is the greatest aspiration : Art for Art's 
Sake! If you are versed in art-needlework, you should 
rejoice at the opportunity to produce your own design, 
embroidered after your own individual taste, and thus 
have something that is exclusively yours. 

The tools of this course are simple and few: adequate 
pencils to rule the motifs, four motif plates, a scallop 
marker, and some drawing paper of cheap quality. 

The work required is absolutely practical, and the 
student's progress is so gradual and easy that a few min- 
utes study is all that is required before beginning the actual 
attempt to design. 

When the von Horvath course is fully comprehended. 



Designing for Art-Needlework 9 

the student will be in a position to make use of an almost 
unlimited number of motif plates which the VON studio 
will supply at a very slight cost. 

The student's work will, naturally, become neater with 
practice, but this course guarantees that anyone can, right 
from the first lesson, produce useful, even marketable de- 
signs. 

The last lesson of the course handles the commercial 
end of the matter and valuable mformation concerning 
the marketable qualities of your products. A list of 
markets for your designs is given at the end of the course. 
Also, the best way to establish a Studio for Designing, 
and the sources of business are handled in a clear and an 
exhaustive manner. 

Any community of five hundred persons or over pre- 
sents a chance to an enterprising designer, and it is ex- 
plained how to make the first attempt to interest possible 
buyers in your designs and how to establish yourself. 

THE VON SYSTEM 

n^HE student will find it the most satisfactory and the 
-^ shortest way to succeed, if she adheres strictly to the 
instructions given in this course. The general rules of 
study are: 

Read the lesson thoroughly, ponder over it and study 
every detail, in fact every word, for each lesson is so con- 
densed that there is not a single unnecessary word used. 
Understand each sentence fully. 

When you are sure you understand, make yourself 
acquainted with the motif plates. (Study Plate la.) If 



10 Designing for Art-Needlework 

you are ingenious, you will plainly see that these four 
motif plates contain more than a hundred usable motifs, 
and, in the art of embroidery designing, this is a veritable 
wealth. 

The next step is to proceed with the exercises demanded 
in each lesson. It is important that you make every 
effort to create new designs, and become thoroughly fa- 
miliar with the fragments of designs contained on these 
four motif plates. Once you realize the real and im- 
mense value of these motif plates, you will enjoy putting 
designs together, and you will be surprised at the ease 
with which you can express your ideas. 

Ask questions, as many as you please, and send them 
in with your lessons. The respective lessons contain the 
special instructions pertaining to designs and other matter, 
in their regular course. 

Always remember that "PRACTICE MAKES 
PERFECT " and go bravely forward. You can count 
on your own perseverance gaining more for you than even 
the good will of your instructor. 

Finally, bear in mind that this course is not a compli- 
cated and elaborate treatise on art, but the most simple 
and practical short cut to help YOU to become a designer 
of art-needlework and other flat ornamentations. 

The four motif plates sent with the course were de- 
vised as practical aid to you in study, and they contain 
ALL the motifs you need as a beginning. Later on, we 
shall tell you how to obtain further plates for special pur- 
poses. 



Designing for Art-Needlework 1 1 



A SHORT CUT 



TODAY, when cars race along the roads at sixty miles 
and aeroplanes glide over our heads at the rate of a 
hundred miles an hour, time is a very precious thing. 
It stands to reason that many short cuts have had to be 
found whereby a thing can be done not only quickly and 
well, but better than by previous slow methods. 

Such a short cut is the von Horvath system for design- 
ing embroidery patterns, china decorations and general 
flat ornaments. 

In every art the experienced artists can produce the best 
results skilfully, but most of these artists find it impossible 
or do not want to give away what long years of practice 
has taught them. This course of instructions is an ex- 
ception, for the student is receiving the benefit of all that 
Mr. von Horvath, one of the foremost art-needlework 
designers, has learned in his many years of experience. 
His guiding hand will lead the student through the dif- 
ficulties of designing with a wonderful ease, and he will 
impart more practical, useful, indispensable knowledge 
in this course of eight lessons than many volumes of dry 
textbooks ever could. 

Each lesson handles some special branch of the most 
important ways of designing, and shows, step by step, 
what and how to do it. This course is not theoretical, 
but full of practice and trustworthy facts. 

The only theory that is introduced into this course is 
the basic principle of this idea of designing, by which 
means the originator of the course gives the power of 
drawing to the most inexperienced hands. 



12 Designing for Art-Needlework 

THE THEORY OF THE MOTIFS 

A CLOSER study of any embroidery or china design will 
almost invariably reveal the fact that the unit of the 
design is composed of basic forms which, when well 
combined, make a pleasing whole. Those not of an in- 
quisitive mind will stop there and accept this whole as a 
" Nice Design " or, if it does not please them, a " Poor 
Design." 

The investigator, however, will find that the details, 
which are called " Motifs " (the single fragment of the 
composition), appear repeatedly, possibly in different po- 
sitions, reversed or repeated at intervals just as they are. 

To make this clear, take plate lb., where, for the sake 
of simplicity, the same details are designated. A close 
scrutiny will reveal the number of motifs on this plate. 

1. Question: How many details or motifs were 
used on plate 1 6. 

For future references: Questions should be answered 
in as few words as possible and this one written on the 
plate in question, then sent in with the lesson, for answer 
and criticism. 

While you were counting the motifs on plate 16, you 
made yourself acquainted with this type of design, called 
the French and Eyelet, and intended for use, mostly, on 
white linens. 



Designing for Ari-Needlework 13 

THE PRACTICAL USE OF THE MOTIF 
PLATES 

THE von Horvath Motif Plates are of durable, trans- 
parent celluloid, and have the same appearance as 
ordinary stencils, but their method of use is entirely 
different. You are taught to make your design directly 
on materials, in outline, instead of tinted in. If your 
desire is to decorate a piece of china, a china-marking 
pencil is required, but you must use an ordinary soft 
pencil for linens. If a dark material is to be embroidered, 
a white crayon is necessary. 

The transparency of the celluloid is a very important 
factor, for this permits perfect judgment of the composi- 
tion in its development, and offers greater opportunity for 
you to make trial designs for selection, before making 
other than the basic idea for the design. 

The motif plates are arranged in accordance with the 
styles of embroidery designs. (See plate la, and the cel- 
luloid plates.) That is to say, each plate represents a 
certain way of embroidery. These styles are : 

1 . Arts and Crafts motifs. 

2. French and Eyelet motifs. 

3. Conventionalized plant motifs. 

4. French knot and general motifs. 

These four plates, which contain the basic motifs of 
hundreds and hundreds of embroidery and china designs, 
are included with the course and the student is instructed 
in their use in natural order. 



14 Designing for Art-Needlework 

If the student desires additional plates, for initials, 
special designs, etc., they may be obtained at a reasonable 
cost upon request. 

Once the practicability and usefulness of this theory is 
fully understood, the student cannot help but find an un- 
limited pleasure and profit from the knowledge. 

EXERCISES: Select motif plate 2 and a piece of 
paper, then choose from four to six motifs from this French 
and Eyelet plate and group them together harmoniously. 
Enclose your exercise with lesson. 

The following exercises are also required: 

a. Take a motif plate and make a group of motifs, 

combining 3 ground motifs into one group. (See 
Fig. 1 , plate 2.) 

b. Make groups by using three motifs, but reversing 

the same. (See Fig. 2, plate 2.) 

c. Use four motifs repeatedly and reversed to form a 

corner design. (See Fig. 3 on plate 2.) 

d. Use as many motifs as you please to make a running 

or border ornament. (See Fig. 4 on plate 2.) 

Work to be submitted for criticism: 

Answer question 1 (to be sent in on plate lb.) 
The attempt at the grouping of French and Eyelet 

motifs. 
Exercises marked a. b. c. d. 

Briefly, and without unnecessary details, set down your 
full name and address, occupation, educational training 
and whether or not you have had any experience in em- 



Designing for Ari-Needlervork 13 

broidering. If so, state the sort of embroidery you have 
done and the style you hke best. 

This information will enable your instructor to better 
understand your needs and desires and, if necessary, he 
will be m a better position to give you special tasks. 

THE ESCALOP MARKER 

The escalop marker serves as a ruler, to draw scallops 
for circular objects, as doilies and centerpieces. To put 
scallops on lingerie and in fact on anything that wants to 
be finished with scalloped edge. 

The use of this instrument is described in a later lesson. 



141 



SECOND LESSON 



:Mm- 



PREPARATION FOR THE WORK 

BEFORE you can undertake any actual designing on 
material, you must make yourself familiar with the 
practical foundation of applied design. The first 
lesson has explained the tools of the art, and from now on 
you must learn the use of these tools. 

Consider the four motif plates during the entire course, 
and make yourself thoroughly familiar with all their basic 
fragments. 

To be able to design applicable designs, it is necessary 
to learn the following fundamental theories: 

FUNDAMENTAL THEORIES 

/. Designing for art-needlework, china and other ap- 
plied arts is nothing else but the division of a plain surf are 
into harmonious sections. 

In other words, the plain surface is your drawing paper, 
linen, or china which is divided up by the decoration into 
harmonious parts which, naturally, are more pleasing to 
the eye than the blank surface. 

Remember, though, harmonious does not mean equal. 
It means a well balanced division. 

II. This division may be symmetrical or irregular. 
In the first case, there must be an absolute balance between 
the design groups. In the second, it is left to the de- 
signer's own judgment. 

See plate 3, Fig. 1 , for absolute balance. Fig. 2, 
same plate, for adjudged balance. 



Designing for Ari-Needlen)orJ( 1 7 

///. The absolute balance is obtained b]) repetition, 
or the reverse of the design. (See plate 3, Fig. 1 , for 
repetition. Fig. 3, same plate, for reversed balance.) 

IV. The balancing of a design is either parallel or 
central Where these rules do not fit, it MUST be ad- 
judged balance. (See plate 3, Fig. 1 , for parallel. Fig. 
2, for adjudged, and Fig. 3, same plate, for central bal- 
ance.) 

Your attention is specially called to the following para- 
graph which is, practically, the very keystone of the suc- 
cess of designing : 

V. Whatever parallel central or adjudged balance 
shall control \?oi/r design, );ou must always fold your 
paper or embroidery material for guidance. On designs 
for chma, use paper strips to make measurements. THIS 
METHOD IS INFALLIBLE IF CAREFULLY 
FOLLOWED. 

Exercise: Take a sheet of paper, fold it once, ex- 
actly in the center, then crease. If you have used care, 
you have a perfectly straight line across the middle of 
your sheet. This divides your drawing surface into 
TWO EQUAL PARTS. 

By folding across again, taking good care that the 
creased lines fall exactly on each other, you have another 
division, giving you FOUR EQUAL PARTS. (See 
plate 4.) 

Now is the time for you to decide which particular ar- 
rangement shall be used as a guiding line for your de- 
sign. That is, determine whether you intend to use the 
parallel method, the central or the irregular method. 



18 



Designing for Art-Needlework 



THE PARALLEL METHOD OF BALANCING 
A DESIGN 

FOR the first experiment, use a sheet of paper not 
smaller than 8' x I I '. Fold and crease your surface 
into four equal parts. Study Diagram No. 1 , which 
shows the parallel arrangement of a design for a scarf 
or cushion cover. 
NOTE that the 
center crease there 
serves as an axle on 
which to balance 
your design. The 
character of this 
style of design is 
symmetrical. 



w 



Wi 



c^ 



Take motif plate I for your experiment and choose the 
motifs you think most suitable for your .design. RE- 

MEMBER 
that the seeming 
halves will re- 
sult in wholes 
by reversmg the 
motif and jom- 
ing it at the 
right pomt. 

For instance 
(see Diagram 
2), motif a, 
turned over and 
joined together 




Designing for Art-NeecileTvork 



19 




at points marked x will give Figure B. The reverse of c, 
gives C, and these motifs combined mto a group gives D, 
which is a very good arts and crafts motif group. 

The use of the motifs fully understood, you must now 
select your distance from the central axle of the design. 
This line is marked by a new crease extending across the 
b-b line and marked c-c on 
Diagram 3. Use this 
secondary line as a guide, 
place your composed motif 
group similar to Fig. 1 , 
plate 5. 

STRIVE FOR SIM- 
PLICITY from the very 
start, for simplicity and 
harmonious grouping are the secrets of success m applied 
designs. 

At this point you are made aware of a method of 
transference that is not generally practiced by even highly 
paid designers. 

After your design group has been marked (with a soft 
pencil) on one half of your paper, simply refold it at the 
c-c crease and rub over the pencil marks with the dull 
edge of a knife. Upon unfolding, you will find that the 
soft crayon has permitted the accurate transference of 
your design upon the other side of the paper. 

Place the motifs over these penciled lines and strengthen 
them, and one-half of your design will be finished. 

Now fold your paper at the a-a line and rub over the 
entire group, thus transferring the completed design onto 



20 Designing for Art-Needlework 

the blank half of your sheet. You will be surprised to 
find a neat, well balanced design, absolutely original and, 
if good taste was displayed in the grouping of the motifs, 
a decidedly pleasing design on the piece of paper which 
was, a short time ago, blank. 

This method of transference is as simple and sure as 
that of making an egg stand on its point. Yet, until 
Columbus explained how this was done, no one ever 
thought of such a thing. As before stated, most profes- 
sional designers are unaware of this infallible and simple 
short cut which makes designing easy, rapid and delight- 
ful. 

Exercises: Make four different designs using the par- 
allel system. Select the two you think best and submit 
them for criticism. 

In case you find one of your designs suitable for em- 
broidery purposes, simply strengthen your drawing with 
your SOFTEST pencil then place it, face downward, 
upon the material you wish embroidered. Secure it 
firmly with thumbtacks or weights (the latter are prefer- 
able) then rub it over with the dull edge of a knife. If 
your material is closely woven and not too dark in color, 
you should have a perfect copy of your design, pronounced 
enough to embroider. The pencil marks will wash out. 
For dark and coarser materials, the proceeding is some- 
what more laborious and will be explained in a later 
lesson. 

Question: Describe in as few words as possible the 
parallel method of balancing a design. 



Designing for Art-Necdlcnwrl( 



21 



THE CENTRAL METHOD OF BALANCING 
A DESIGN 

THE parallel method of balancing a design is gener- 
ally used on square or oblong surfaces. 

The central method is mostly applied to round objects 
such as doilies, centerpieces, table covers in the embroid- 
ery art and plates, platters, saucers, etc., m china painting. 

Until we arrive to the point of using the different meth- 
ods of balancing in composite forms, we shall deal only 
with the special style wt are handling. Naturally, in 
general practice, these three methods overlap and, as ex- 
plained later, they may be used together harmoniously. 

Crease your paper as in the parallel method, twice, 
then lay your sheet, half folded, on the table and unfold. 
Place your left thumb on the point above the b-b crease 
(marked on Diagram 
No. 4 with a cross) 
and, with your right 
hand fold the lower 
end of your paper so 
that the lower half 
of the a-a crease ex- 
actly meets the b-b 
line (see Diagram 
No. 5). Crease, 

then unfold. You have divided the lower half of your 
surface into FOUR equal sections, the center of which is 
the exact center of your paper. 

Arrange your motifs from the b to c line. 
3, plate 3.) 




11°^ 



(See Fig. 



22 Designing for Art-Needlework 

A little study will make it clear to you that the pro- 
ceeding from now on is the same as that used in the par- 
allel method. Be careful to fully understand that the 
axle you have to use is the one where the fold is IN- 
WARD, or you will find that, when you come to rub 
over your design, you will have to reverse the crease. 

The grouping of your motifs should be arranged inside 
of the one section, then turned over and completed, thus 
finishing ONE QUARTER of the whole surface. (See 
Fig. 3, Plate 3.) Strengthen the newly rubbed quarter 
and rub it over, thus finishing half of design, fold and rub 
against blank half of your paper, and now you can unfold 
and take a look at your finished design. 

This design may serve for a square article or a round, 
depending entirely upon the motifs you selected. 

If the design is intended for a square piece, no finish 
to the edge is necessary, but if it is to be used on a center- 
piece or other round object, a circle should be marked for 
the lace or scallops marked for embroidery. This circle, 
whether plain or for scallops can be easily and swiftly 
made with the scallop marker. 

Exercises: Make two square and two round designs. 
Submit one square and one round design for criticism. 

THE FREELY BALANCED DESIGN 

THIS method makes the greatest demands upon the 
good taste and judgment of the designer. She has to 
select her motifs very carefully and then use them to their 
best advantage. Under all circumstances, the paper 
must be divided by the two main creases which, for the 
sake of simplicity, we will call the a-a and b-b creases. 



Designing for Art-NeedleXDork 23 

though, in irregular arrangements, there is no set rule to 
guide the student, nevertheless they help arrange the de- 
sign harmoniously. 

Experiment and practice with the motif plates until you 
have found the motifs which make the most harmonious 
group, then GO AHEAD BOLDLY. Once more, I 
urge you to GO AHEAD BOLDLY. Do not hesitate. 
Everyone makes mistakes, but from those mistakes you 
must learn. Unless you go ahead without fear, you lose 
your chance. 

First of all, this method of balancing a design is, in 
many respects, easier to accomplish than the two previ- 
ously mentioned. But, to most people, it will SEEM 
more difficult. The reason for this is that an irregular 
design consists of much more originality than the method 
of repetition. Naturally, it takes longer to perfect the 
work, for it involves more thinking and knowledge of 
what constitutes a well-balanced design. More than 
likely this accounts for the fact that only about five per 
cent of all the designs made for art-needlework and china 
decorations, etc., are of the freely balanced variety. 

Put aside motif plate 1 (Arts and Crafts Plate) for 
this does not lend itself easily to this treatment. It is not 
impossible to use this plate, but it is inadvisable. Later, 
when you have advanced to the stage where freedom of 
movement is felt in designing, you will be given the op- 
portunity to experiment with this style. 

Study Fig. 2, plate 3, for guidance in experiment with 
the freely balanced method of designing. Note the use 
of the motifs, for a study of their use will bring the m.ethod 
much more clearly to your understanding than will a long 



24 Designing for Ari-Needlervork 

treatise. And make an attempt to find the motifs used 
there on the motif plates. 

When you feel that you understand the method of 
grouping the motifs, go ahead and make something similar. 

Exercises: Design two groups in this style. Com- 
pare the two and mark the one you adjudge the better de- 
sign and, in a few words, explain why you prefer it to the 
other, then send them both in for criticisin. 

These designs and your remarks will enable your in- 
structor to more fully comprehend your capability and be 
in a better position to give you the proper advice at the 
proper moment. 

Before proceeding further, the student MUST UN- 
DERSTAND that there is not a single item in the entire 
course that can be eliminated, and she must study each 
lesson thoroughly. By fully comprehending each step, 
as it appears, the student is led forward practically with- 
out her knowledge, to the sure goal of success. 

Work to he sent in: 

A piece of paper folded to show parallel balancing, 
with creases marked " a-a," *' b-b " and " c-c." 

Two designs arranged by the parallel method of bal- 
ancing. 

Describe in as few words as possible the parallel 
method of balancing a design. 

Send in one square and one round design arranged by 
the central method of balancing. 

Send in two designs arranged by the freely-balanced 
method. 



SIP IS 1915 



THIRD LESSON 



NOW that the student is famihar with the character 
of the requirements of this course and has learned 
the simple helpfulness of the VON system of de- 
signing, it is time to put before her the fundamental prin- 
ciple of this theory. 

It was Mr. von Horvath's experiences in various lines 
of applied art that induced him to devise this method of 
simplifying designing. He has handled thousands of 
origmal designs and, today, there is hardly a home in the 
United States that does not contain an object of pottery 
or art-needlework originated by Mr. von Horvath. 
Looking through the numerous catalogues which represent 
the years of work, he came to the conclusion that the 
basic motifs of designs are, to a certain degree, limited. 
That, with a limited number of pre-arranged basic motifs, 
unlimited numbers of new designs could be created; orig- 
inal designs which will not resemble in the least any other 
design, yet all made from the same motifs. 

Once this fact was established, the working out of the 
problem was, with his experience, a rapid growth. 

The transparent motif plates and the scallop marker, 
with the simple instructions included in this course, open 
the door for every one who is ambitious to become an ac- 
complished designer. 

The VON system, while it is equally applicable to all 
flat ornamentation designs, was originally intended for 
embroidery designing, with special hints given for its ap- 
plication on china. The course is, therefore, treated, first 



2 Designing for Ari-Needlervork 

of all, from the standpoint of embroidery and the lessons 
will give all needleworkers many valuable and never- 
before published hints which will be to their advantage. 

The student will also find that, in many cases, the 
bringing of china decoration in closer touch with art- 
needlework, opens up new and charming opportunities 
for the home decorator. 



OBJECTS OF EMBROIDERY 

T^HE objects of embroidery can be divided into two 
main classes, as far as the designer is concerned: col- 
ored and white embroidery. Both these classes can be 
divided into numerous styles, some of which are quite posi- 
tive in character, while the others are not so clearly de- 
finable. 

The periodical classification of embroideries is a study 
in itself, and books dealing with the subject are easily 
procurable. A professional designer will do well to ac- 
quire at least one good treatise on this. subject, but as far 
as the present day demands are concerned, this is not im- 
portant. This course deals with all the necessary knowl- 
edge for desigjiing marketable designs. 

Colored embroideries, as a matter of need, must har- 
monize to a certain degree, with the homes, furniture, 
wall-paper and other details. This style brings out the 
new ideas in embroideries as well as in china. Never- 
theless, odd ideas often find their way into surroundings 
which do not exactly harmonize, yet these exceptions but 
make the rule stronger. 



Designing for Art-Needletvork 3 

The most popular styles of colored embroideries are: 
Arts and Crafts, 
Mission, 

Conventionalized Floral, 
Mille Fleur, 

Naturalistic Floral and Plant, 
Wallachian. 

Knowledge of these seven classes w^ill enable any one 
to handle other fashions that come and go which are, so 
to speak, merely combmations of some of the above men- 
tioned styles or an old thing under a new name. 

Plate 6 illustrates these styles and a close study will 
give more information than a long description. Too, the 
student is expected to reproduce copies of the most im- 
portant styles in this course, and this will familiarize her 
with the characteristic properties of the classes. 

White embroideries, in many ways, resemble the col- 
ored embroideries, except that the white work has a much 
wider range in the sizes of threads used. The finest, as 
well as the heavy rope is used, but the medium sized 
threads are the most popular. 

White embroidery styles are: 

The Eyelet or Madiera Work, 

French Work, 

The combination of these two styles. 

Punch Work, 

Net Insertion Work, 

Wallachian. 

Your attention is called to Plate 7, where every men- 
tioned style is illustrated. 



4 Designing for Art-Needlework 

This course is not intended to teach embroidery, never- 
theless, it is found worth while to include a plate showing 
all the popular stitches which are being used in the work- 
ing up of the various designs. A study of the special 
stitch plate will be very useful, for the designer can then 
plan on using the correct stitch for each motif. 



COMBINATION OF PARALLEL AND CEN- 
TRAL METHODS OF BALANCING THE 
DESIGN 

FOR a trial, take your motif Plate No. 3 (eyelet 
motifs). Fold your paper as taught in lesson 2, 
until you have divided the surface into eight equal sec- 
tions. Select an unfolded line and place some simple 
motifs to be repeated on a circular line in the middle of 
your surface. Rub it over, strengthen your lines, rub 




Designing for Arl-NeedleXDork 5 

again and repeat until you have completed a circle. This 
finishes your central work. 

Now place a design with your motifs in the middle of 
the circle, using the parallel method. The result should 
be a neat design for a pillow top. (See Diagram No. 6.) 

Exercises: Make two more designs of this type, mark 
the one you think the best and give your reasons for so 
thinking. Send these two in with your lesson for criti- 
cism. 



COMBINATION OF THE THREE METHODS 



CONSULT Diagram No. 7 
^^ and figure out how this design, 
representing a scarf, was made. 
Make a similar design and mark 
the parallel balancing work with 
filling the design with lines. The 
central balancing with dots leav- 
ing the freely balanced parts 
blank. 

Having done this, it is time to 
get acquainted with the objects 
for which the embroidery de- 
signer supplies the decorations. 

Those who are 

more interested in 

"vju/^^i^^-^ china ware than 

K^S^^^ — r^ embroidery are 

>/^ asked to follow 

{^C^ the course closely, 

1M?9^ for all that has 




<^?.^ 



ec 




^s£^ T 



6 Designing for Arl-Needleivork 

been taught is also fundamental in china decorator's de- 
signs, as will be explained later. 

Exercises: Make two designs of this combination, 
mark the one you consider the best and send them both in 
with the lesson for criticism. 



THE OBJECTS OF THE ART-NEEDLEWORK 
DESIGNER 

THE objects of embroidery are numerous, representing 
many forms. The following list gives the groups of 
the objects, according to their shape: 

Round Objects 
Doilies, 
Centerpieces, 
Table Covers, 
Pincushions. 

Square Objects 
Cushion Covers, 
Table Covers, 
Doilies, 
Pincushions. 

Oblong Objects 

Oblong Cushion Covers, 

Scarfs, 

Piano Covers, 

Dresser and Buffet Scarfs, 

Pincushions, 



Designing for Art-Needlework 

Oblong Objects — Continued 

Carriage Robes, 

Towels, 

Bibs, 

Tray Cloths. 

Irregular Objects 

Stola Covers, 

Specially Shaped Scarfs and Cushions, 

Bolsters, 

Ovals of all sorts. 

Bibs, 

Jabots, 

Collars and Cuffs, 

Waists, 

Dresses, 

Baby's Wear, 

Slippers, 

Bootees, 

All sorts of Dresses and Lingerie, 

Aprons, 

Napkin Holders, 

Pockets, 

Bags for all purposes. 



8 Designing for Arl-Needlework 

THE OBJECTS OF THE CHINA 
DECORATOR 

THESE are varied in form, but they mostly adhere to 
round shapes. The designs come very close to the 
embroidery design when plates, saucers and platters are 
to be done. It would be useless to enumerate all the dif- 
ferent forms: it shall suffice that the method of designing 
is exactly the same as designing for embroidery. The 
only difference is in its application to the object. The 
pliability of the celluloid motif plates permit an easy and 
direct application. The division of flat objects should in- 
variably be done on a piece of paper, the division lines 
marked and then the motif plates applied and the china 
pencil used for tracing the motifs on the surface. 

Since all china must be fired before it can be considered 
a finished article, the marks of the china pencil should not 
cause worry, for they will be burned away when the firing 
is done. 

THE USE OF THE SCALLOP MARKER 

THE scallop marker is an instrument which enables the 
student to mark scallops directly on linen with ease 
and accuracy. Twelve different sizes are provided for 
use on round objects, but it is possible to use the instru- 
ment to design scallops wherever such are desired around 
straight, curved edges and corners. 

The most popular plain scallop was selected for the 
purpose but in ingenious hands, the same instrument can 
be utilized to devise any sort of scallop wanted. 



Designing for Art-Needlework 9 

For practice work, determine the exact center of your 
paper by folding and creasing the a-a and b-b Hnes, then 
fasten the guiding bar of the scalloper through the hole 
bearing the numeral of the size you desire to mark. A 
thumb tack or a pin will serve as a pivot. 

Let us suppose that you want a 24" centerpiece : in this 
case a thumb tack is put through the hole marked 24". 
Pull the guiding rod straight, place it to one of the divid- 
ing lines so that the right end of the scallop just touches 
the creased line. Hold it firmly in place, mark the cut 
out scallop with your pencil, then move the scalloper 
toward the left until the scallop touches the end of the 
scallop you have just marked. Repeat this until you 
have reached the next creased line. If care has been 
used, the left end of the last scallop will exactly meet this 
line. If, however, you find that the ends do not match, 
it will be an easy matter to correct the deviation by closing 
or releasing the chain of scallops. 

If the pivot is in the exact center of the goods, this de- 
viation, under any circumstances, cannot amount to more 
than an eighth of an inch on a quarter section. Thus you 
know the reason why you have creased your paper: in 
order to check up each quarter section and insure a perfect 
circle. 

When this first quarter section is ready, fold your paper 
or goods and rub it over onto the blank side, and then 
strengthen the lines with your softest pencil, thus com- 
pleting half of your circle. 

When this is done, fold your paper on the creased 
line again, and rub over the finished half onto the 
blank half and thus complete your WHOLE CIRCLE. 



10 Designing for Art-Needlervork 

A little care should convince the student that this scal- 
loper produces an exact circle of perfectly matched scal- 
lops. 

The student will be interested in knowing that a 24 
scallop means a 24' x 24 cloth and when the scalloping 
is finished there should be enough margin left to enable 
the embroideress to work the scallops by stretching the 
goods over a hoop. 

The capacity of this scalloper ranges from a 6 doily to 
a 36' centerpiece. Although, as it will be pointed out 
later, this instrument can be used to scallop pieces of a 
much larger size. 

Exercises: Make a 6 and a 12' and a 24 scalloped 
edge with the scalloper- Place a design on your doilies 
and centerpieces with the aid of the central balancing 
method. USE SIMPLE DESIGNS. Simplicity is 
very important from a commercial standpoint. Enclose 
these designs with your lesson for criticism. 

Work to be sent in: 

Name the embroidery styles, white and colored, with 
which you are familiar. State frankly whether you have 
had any difficulties in carrying out the required exercises. 

Two designs made combining the parallel, and central 
balanced methods, marking the one you prefer, with 
your reasons for so preferring. 

Two designs made combining the parallel, central and 
freely balanced methods, marking the one you prefer. 

A 6 ', 1 2" and a 24 scalloped piece, with simple de- 
signs made m the central balancing method. 



Designing for Ari-Needlework ' I 1 

Advice: Keep up your work with the motif plates. 
There are hundreds of designs lurking in them. The 
more you practice designing at this stage of the course, 
the more proficient you will become. Remember that it 
is always possible to sell some of your work to people 
who desire original embroidery designs for their exclusive 
use. 



SEP 151915 



Vl 



FOURTH LESSON 



SIZES 

YOU have already made several useful designs and 
if you have become familiar w^ith the simple in- 
structions given in the foregoing lessons, you should 
find no difficulty whatever in carrying out the work in this 
lesson. 

Now is the time to get acquainted with the sizes of the 
different objects which are decorated with embroidery, 
after which, in natural sequence, comes the materials on 
which the work of the designer is finished. 

Sizes are important, in as much as if you are familiar 
with them, you will always know the surface that is at 
your disposal. Quite naturally, there is a variation of 
sizes observable, but this variation is not great and it is 
regulated by the widths of the different materials. 

To make this perfectly clear, we shall enumerate the 
different objects and give the limits both ways. 

For the design, always arrange so that you will have 
plenty of margin inside these surfaces. This is very im- 
portant. 

Square cushion covers measure from 24 " x 24" to 

18"x]8" 
Oblong cushion covers measure from 15"x2r' to 

18''x26". 
Scarfs measure from 15" to 22" width x 36 ", 45", 

54", 72" and even 90". 
Ovals measure from 1 5" x 27", 1 8" x 34 ", 24 " x 42", 
etc. 



2 Designing for Art-Needlervork 

The student must understand that the measurements 
for round or oval objects are made SQUARED OFF, 
for the reason that all material is cut in that manner. 

Centerpieces measure from 16" x 16" up to 45' x 45'. 
Doilies measure from 4 x 4" up to 14" x 14". 

All other objects are considered subject to judgment in 
regard to their sizes. As a general guide, however, a 
few^ suggestions are here given: 

Robes for baby coaches, without flaps, are generally 
measured 24" x 36". If flap is desired, add 6" extra to 
the length. 

Baby pillows, oblong, measure from 1 1 " x 17" to 
14"x2r'. 
i ^ Baby pillows, square, measure from 1 4" x 1 4 to 
20"" X 20". 
Baby bibs vary from 8" x 1 0" to 1 2" x 1 8". 

As a guide to the student in regard to standard sizes, 
it would be a good idea to acquire catalogues from fancy- 
goods houses, and to study those pages both in regard to 
sizes AND DESIGNS. 

There are a number of mail order houses which issue 
splendid and instructive catalogues each year, and their 
addresses can be obtained from almost any woman's pub- 
lication. 

Another thing : The student should get into the habit 
of clipping out the embroidery suggestions contained in 
daily and Sunday newspapers, and in the various publica- 
tions catering to women's needs. Use of these clippings 
will be described later. 

Please do not understand that this suggestion as to 



Designing for Ari-Needlervork 3 

saving clippings is meant for the purpose of copying 
them. It is not. They are only for the purpose of stim- 
ulating your creative ability, and of making you more ac- 
quainted with the work of contemporary designers. These 
clippings should always have some fresh suggestion for 
the ingenious designer, and therein lies inspiration. 



DESIGNING THE OVAL CENTERPIECE 

THE oval or egg shaped centerpiece demands, in a way, 
more intricate handling than the regularly shaped ob- 
ject. By following the rules given below, the student 
ought to find it simple, however. 

We will make a centerpiece size I " x 1 8 ". Take a 
piece of paper suitable for that size, fold and crease it 
with the a-a and b-b lines. Be careful in folding, and 
demand absolute accuracy from yourself, for accuracy is 
the secret of your success. 

When the a-a and b-b creases are made, measure 4 
from the center point on line a-a and 8 on the Ime b-b, 
always marking your 
distances as indicated 
on diagram I 0. The 
4 " mark will give you 
the short end of your 
design and the 8" 
mark will give the 
long end. Make an 
effort to remember 
that when you draw 
an 1 8 ' X 1 oval, it 
means the size of your cloth which, when embroidered, 







<JL 


s , 


/ 

f 

1 

1 


.^'• 


5" 

a 





Designing for Ari-Needleu^ork 



will lose !/2 to 1 " all around, if scalloped and at least ]/?'' 
if hemmed. This is the reason we have not measured 
the full measure, but detached an inch on all the edges. 

Now, then, the 4 and the 8' points, measured from 
the center of your paper, results in an actual oval of 
8''xl6". 

To continue with the construction of the oval: Be 
sure that your 4" mark is on the a-a crease, then fold your 
paper back over the a-a line and crease it. Treat the 8 " 
mark on the b-b line in a similar manner. The result 
will be a perfectly regular oblong on the upper left-hand 
corner of your paper. 

This quarter section is the foundation of your oval. 
The points marked in diagram 10 with " x " are the two 
points so far established which are intended to border the 
drawing. 

To make the border, take the scalloper and, beginning 
at a point on the b-b line, left from the center, bring it 
into such a position that one of the holes touches the dot 
marking the 8 " point, then thumbtack the other end to the 
b-b line. Insert a pencil point into the corresponding hole 

over the 8" 
point, move 
it upward a 
few inches, 
marking the 
course on the 
paper. (See 
diagram II.) 
When this is 
done, remove 




Designing for Art-Needlexvork 



the thumbtack and find a point on the a-a hne, below the 
center, quite a distance from it, so that you can get a large 
curve, then repeat the proceeding from tlie 4 " point toward 
the left, to meet the curve you made from the 8 ' mark. 
This process gives you a good start on the border of the 
oval, and if you so desire, you can join the two starts into 
one graceful curve, free hand. If, however, you wish to 
continue with the scalloper, find a point left from the 
center and below the b-b line of your oval, from where, 
with its help, you can connect the two starts of the oval. 

It is much easier to make the curve free hand, therefore 
it is advisable for you to practice it and not depend upon 
the scalloper for every move. Remember, if the first at- 
tempt is not perfect, you can erase and begin again. Do 
your curve very lightly at first, for you do not need a 
heavy line. A little perseverance at this point, really the 
most difficult in the whole course, will prove that it is, 
after all, an easy matter to make a perfect oval. 

Once your curve is marked on the paper, two different 
courses are open to you: either to scallop the oval or to 
make an outline for the hem or lace. 

If scallops are desired, take the scalloper and begm at 
the b-b line, 
placing THE 
CENTER of 
the desired sized 
scallop on the 
b-b line, thus 
dividing the 
scallop into two 
parts. (See 

diagram 12.) 




6 Designing for Art-Needlework 

Mark the upper half of the scallop, then move the scal- 
loper up so that the left end touches the right corner of the 
first half scallop, while the right end touches the outline 
for your border. Make the cut out scallop and then re- 
peat the performance until you arrive as near to the a-a 
line as your last scallop will reach. This is a crucial 
point, for your scallop may fall short, or it may overlap 
the a-a line. If the arriving scallop does not exactly 
meet the a-a line, or if the a-a line does not cut the arrivmg 
scallop exactly in half, then you will have to alter the 
joining scallop. Do not hesitate to enlarge the joining 
scallop, if by extending its points would make up the dif- 
ference, or do not hesitate to make it smaller, if a smaller 
scallop will just fit in, for these changes will not hurt the 
composition in the least. 

The differences at these points are never so great that a 
little manipulation will hurt. 

When this first quarter section is finished, strengthen 
the pencil marks with a soft pencil and rub over until 
ONE HALF of the oval is ready. Strengthen this 
rubbed section, fold your paper on the a-a line and rub 
the blank half so that the entire oval will be ready for the 
design. 

DESIGN FOR OVAL PIECE 

TV/Take use of the parallel and, eventually, the central 
■*■ method in placing your design in the first section of 
your oval, and reproduce the design on the desired spaces 
with the rubbing method. 

AGAIN I advise that you cultivate simplicity, for 



Designing for Art-Needlework 7 

there is nothing so easy as to over-crowd a design. The 
reason why so many designers over-crowd the design is 
that when they have composed the first motif groups, they 
seem to have so much empty space that it is hard to with- 
stand the temptation to add a httle detail which seems 
necessary to fill it up. DO NOT FORGET that your 
first group of motifs will be reproduced several times be- 
fore the finished oval is ready for the embroideress, 
THEREFORE, STRIVE FOR SIMPLICITY! 

Should you desire to hem your piece, instead of scal- 
loping it, simply straighten the line of your first quarter- 
section, rub it over and over again until you have the com- 
pleted oval. 

This ends the instructions concerning the main funda- 
mental facts of embroidery designing. 

You wonder at its simplicity at this stage, yet, with all 
its lack of detail, you will have to practice and work on 
designs without end, in order that you may acquire ac- 
curacy of judgment in placing the right motif in the right 
place, for that is the secret of success in art-needlework 
designing. 

Exercises: Make three different ovals, any sizes you 
prefer. If you find difficulty in joining your scallops, say 
so. Your instructor will be glad to give you personal ad- 
vice. Submit ALL your exercises with this lesson. 

MATERIALS 

THE art of embroidery is the oldest artistic expression 
of the human race. Its first examples were, very likely, 
executed on dressed leather with a fishbone needle. Since 
those primitive days, it has spread until it has conquered 



8 Designing for Art-Needlework 

almost every fabric that comes from the looms. Al- 
though there are materials made specially for embroidery 
purposes, or advertised as all sorts of art cloths, the student 
w^ho desires to embroider one of her own designs is ad- 
vised to select a piece of linen of good quality. Your 
own judgment tells you that it would be ridiculous to put 
three dollars' worth of work and a dollar's worth of silk 
on a ten cent piece of cotton cloth. For the sake of this 
art, use the best material the market has to offer and thus 
make your finished piece more valuable in your eyes and 
the eyes of your friends. 

On account of the keen competition among manufac- 
turers and wholesalers, a vast amount of cheap cloth has 
been introduced to the consumers. Stamped goods with 
flashy designs on them, sold for a small sum, appear at- 
tractive at first, but any one with a real love for art- 
needlework will turn from them in distress, no matter how 
artistic the design. Would you care for a diamond set 
in a tin ring? It is the very same idea. 

Examples of ancient art-needlework done by the early 
peasants of European countries show, in their naive de- 
signs, unusual charm and originality. This is a beauty 
that, somehow, is never found in a dashing, striking piece 
of modern embroidery, no matter how clever and perfect 
in detail. A study of this subject will result in the knowl- 
edge that the real charm of embroidery is ORIGINAL- 
ITY and that the catchy objects of needlework, as shown 
in stores, has the same drawback, when compared with 
the peasant work as an original oil painting compared with 
a good print. In plain words, the commercializing of the 



Designing for Art-NeedleXDork 9 

embroidery art has choired the outlet of vphatever origin- 
ality the emhroideress possesses. 

Embroidery has been made easy at the expense of in- 
dividuahty. 

SPECIAL ADVICE TO THE STUDENT 

IN these four lessons the student has received the con- 
densed rudiments of art embroidery designing. If she 
has mastered each fact, she has now reached the pomt 
where her own effects will be as much worth to her as the 
information given in the course. 

Exercise diligently all the rules given so plamly m these 
four lessons and profit by the results of a decade's ex- 
perience on Mr. von Horvath's part. The very back- 
bone of an art is exposed to you in this course. You see 
for yourself how easy it is to design with the help of the 
VON system, therefore, use your motif plates and learn 
that it is almost impossible to exhaust the infinite number 
of designs contained therein. 

Work to he sent in' Three different ovals, suitably 
designed, and ALL your practice work in connection with 
making them. 

From now on, all designs which are criticized and 
marked 75% and over, are marketable. 



SEf I5iei5 



Vl 



FIFTH LESSON 



USING THE MOTIF PLATES DIRECTLY ON 
MATERIALS 

IT is assumed that the student has acquired skill in the 
use of the motif plates on paper and the next step will 

be its use on the material direct. 

It has been shown how to transfer the design from the 
paper to a closely woven, light or white material : simply 
rub it over with the dull edge of a knife. However, 
when you have no drawing of your design, and wish to 
design directly on the material, you feel timid about at- 
tempting such a task. 

The VON system of designing with the celluloid motif 
plates was devised with this idea in mind, and all that you 
have done so far was preparatory to that end. 

For the first experiment, it is advisable for you to select 
a piece of linen of medium weight, white, or light in color. 
The cheapest sort of cambric will do for exercises. 

We will place a design on a 11x17 baby pillow, 
using the French and Eyelet combination. Have your 
motif plate handy, prepare a piece of cambric of suitable 
size, and have your medium hard pencil sharpened to a 
good point. With weights or thumbtacks at hand, you 
are ready to begin your designing. 

With this lesson you are given a sheet of specially pre- 
pared double carbon paper. 

For simplicity's sake, we will select the parallel method 
with a single reverse. This means that you need to make 



Designing for Ari-NeedlerDorJ( 



TACKS, oaWeiQHT^ 



^q2^^ 



^. 



the a-a crease only. Therefore, fold your cambric very 
carefully along the grain, crease it hard (with hot iron), 
for woven fabrics are not as trustworthy in this folding 
process as is paper. Now unfold and lay the copy paper 
exactly along the crease, refold and weight the material 
down or use thumbtacks as shown in the Diagram No. 1 3, 
ON THE UPPER LINE ONLY. 

Keep in mind the style of a baby pillow design you 
want (Diagram No. 13 fully illustrates one style), and 
begin to design your motifs, one 
after another until half the pillow 
is finished. 

Make your arrangement similar 
to Diagram No. 13. 

Do not try to mark heavily on 
the material, for the design will 
appear on the inside of the fold, 
reversed, on either end of the pil- 
low. All you now need to do is 
to make the lines which will guide 
you in your composition. 
Simplicity is not as important a factor on objects of this 
character as on pieces where the motifs are repeated four 
or more times, yet, here, also, it is advisable to be discrete. 
After you have finished your composition, carefully lift 
the upper fold of cambric and ascertain whether or not 
fragments of the design are not clearly defined. If they are 
not, strengthen them, then remove the weights or thumb- 
tacks and carbon paper and view your completed work. 

If you have been careful, you should have as clean a 
design on your cambric as any stamped piece ever sold. 




NSI5 



Designing for Art-Needleri>ork 



Undoubtedly you will be surprised to see how neatly 

you have accomplished your work, and you will rejoice 

at your own ability to make use of this simple system of 

designing. 

We will now take an arts and crafts cushion cover 

(oblong) for our next experiment. Cut your cambric 

any size you want (using the sizes 

enumerated in lesson four as a 

guide). Fold the cambric carefully 

in the a-a crease, the b-b crease and 

the c-c crease, as instructed in lesson 

two, with this exception: the c-c 

creases are folded back instead of 

forward (see diagram No. 14). 
After this is done, take the carbon 

paper cut in suitable sizes and insert 

edges to folded edges of cambric, 

then place the weights or thumbtacks to hold it 
m place, as you did with the baby pillow (see 
diagram Nos. 14 and 15). 

Take the arts and crafts motif plate. Study 
figure 1 , plate 8, very carefully, then use your 
own ideas as to arrangement of motifs in a similar 
design. It will be to your benefit to purchase a 
good ruler, for many times straight lines can be 

added to good advantage to arts and crafts designs. 
Fix firmly in your mind the fact that the cutouts do not 

serve for that particular motif fragment only, but that 

each curved edge and each particular side of it was in- 
tended to be used separately, as the design warrants (see 

plate 8 for complete example). 





4 Designing for Ari-NeedleiDork 

Also keep in mind the fact that arts and crafts cushion 
cover designs SHOULD BE SIMPLE, for the single 
section is repeated four times. The few motifs used on 
plate 8 are sufficient for many effective designs. 

When the quarter section is complete, remove the 
weights, unfold your cambric and look at the entire cush- 
ion cover. The effect is so simple, clean and perfect, 
that you will wonder how you ever got pleasure from 
using the regular transfer patterns. Furthermore, you 
can feel the joy of knowing that THIS DESIGN is 
stamped with your own individuality and artistic taste. 

The method given below is designed for central bal- 
ancing as well as for various other shapes, but it is espe- 
cially adapted to the designing of doilies, centers and 
round covers. 

The only difference is in the folding of the material. 

We shall experiment with an 1 8 ' centerpiece in the 
conventionalized floral style. Take a piece of cambric 
18 X 18, fold and crease the a-a line as usual. Now, 
very carefully, without opening up the a-a crease, lay the 
a-a line over its own half (see diagram No. 16). Thus 
you have the b-b line creased in a different 
way. When creasing this, be very accu- 
rate, so that the b-b line is as close to the 
outside as possible. It is advisable to use 
^-'^ a hot iron on materials, in order to secure 

perfect creases. 

You now have four sections to your cambric, but to 
make a design by the central method of balancing, it is 
necessary to make further divisions. The next creases 
are made in reversed ways, that is to say, you must bring 




Designing for Art-Needlework 




Ne»T. 




your a-a crease back and lay it over the b-b crease on the 
front part, then turn the cloth over and do the same thing 
on the other side, thus performing the folding 
and creasing process shown in the diagram 
No. 1 7. This done, you have all the neces- 
sary guiding creases. 

The copy paper is carefully mserted be- 
^ a tween the folds. Cut it into four section 

wedges. The character of a centerpiece is 
such that the design, in most cases, leaves 
the center of the cloth empty, therefore, 
take care that the part where you intend to 
place your design is backed with the carbon 
paper. Fasten the folded cloth before you 
(as shown m diagram No. 21 ), and proceed 
to arrange a design similar to that suggested 
on plate 8, figure 2. 

You have, by this time, acquired sufficient 
skill in the use of the motif plates to proceed 
without hesitation, and it will require only a 

few minutes to make a neat design in the 
quarter section exposed. If you intend to 
scallop your centerpiece, or to mark it for a 
hem, use the scalloper NOW, for you cannot 
fail to make a perfect circle by simply mark- 
ing this single section. 
Employ a heavy pressure on your pencil 
in this work, for you are making EIGHT 
COPIES of your design. Always hold 
your motif plate flat, well pressed to the 
cloth, and follow the cutout parts slowly 




>fo.l9. 





6 Designing for Art-Needlework 

and accurately. The result will reward you for your 
care. 

This is all there is to making a design for a centerpiece 
with the VON system of designing. 

Copies of these three exercises should be enclosed with 
this lesson for criticism. Any question requiring answer 
should be written on a piece of paper and pinned to the 
piece to which it refers. 

By this time you begin to realize the great possibilities 
offered in this course and you will begin to profit by the 
knowledge. The demand for stamped art-needlework 
goods is tremendous, and the student's originality can 
offer double the value of the work. 

IRREGULAR FORMS 

T3ESIDES the forms and sizes which this course has 
■^^ so far handled, there is a group of designs which form 
a small percentage of the whole, but it is necessary that 
you, as an individual designer, know them. This is the 
group of irregular forms. 

These forms are without number: sometimes they are 
demanded for certam purposes, sometimes the fancy of 
the customer dictates them, but most of the irregular forms 
belong to the oval and scarf classes. Lingerie and dress 
designs belong in this class, but, for obvious reasons, these 
will be treated as a group apart. 

Irregular forms are those which differ from the com- 
monly used and more characteristic styles. All the rules 
you have so far acquired hold good, in a certain respect, 
or are applicable to the designs of this class. 



Designing for Art-Needlervork 7 

Study plate No. 9 for examples of irregular forms. 

In order to design these irregular forms, we must class- 
ify them according to their characteristics: 

I. THE DOUBLY REVERSED FORMS 

THESE are all those forms which were designed in a 
quarter section, then transferred to the opposite por- 
tions of the fabric on paper. These forms are, in most 
cases, regular in themselves, but do not belong to the cir- 
cular form class. For an example, we will design an 
irregular shaped oval. 

Fold your cambric on the a-a and b-b creases, then 
study diagram No. 22, and sketch 
a line similar to that shown there, 
from the b-b crease to a-a crease. 

The line thus gently marked, 
place carbon paper between the 
cambric, then spread out your 
whole sheet and work the top section on the left. Use 
your scalloper to define the line (as directed in the fourth 
lesson) and if, as marked with the " x " in the diagram, 
the scallops do not exactly meet, rectify the error. If you 
intend to hem the object, then trace the line, and proceed 
with the application of the design. 

(It is understood that the material is always weighted 
or thumbtacked down, and therefore this instruction need 
not be repeated for each process.) 

This method is used mostly for irregular oval and scarf 
shapes. 




8 Designing for Art-Needlervork 

2. THE SINGLY REVERSED FORMS 

THESE are designed In halves and therefore one end 
may be entirely different from the other. Special 
buffet scarfs and shelf cloths belong to this class. 

We shall experiment with a triangular corner buffet 
piece. Fold your cambric on the a-a line, crease it and 
mark the desired form (see diagram No. 
23). We are supposing that the longer 
edge will be hemmed, therefore a line only 
is needed there, whereas the front edge 
will be scalloped. The best way is to 
start on the a-a line with the middle of 
your scallop and continue as indicated. 
It is understood that the carbon paper is in its place. 

A simple French design would be attractive for the 
corners. 

Study plate 9 for further suggestions and do not be 
afraid to practice. 

Work to he sent in: 

A French and Eyelet baby pillow on cambric. 
An arts and crafts square cushion cover on cambric. 
An 1 8' centerpiece in conventionalized floral style on 
cambric. 

An irregular shaped oval on paper. 

A triangular corner buffet piece on paper. 

Any other sort of irregular form you desire, on paper. 

Written Tvork-' 

Without referring to your second lesson, write the five 
fundamental theories of applied designing, and send in 
with this lesson. 



Designing for Art-Needlenwrk 9 

So far you have learned all the most practical and very 
easily accomplished ways of designing. The more intri- 
cate forms of design composition will be handled in the 
following lesson. 

If you have found the VON system of designing at- 
tractive so far, you will be enchanted with the coming 
lessons, for they have many pleasant surprises in store for 
the ambitious student. 

Should you be an art-needleworker, it is suggested 
that you arrange a design along the lines you like the best 
and embroider it, thus gaining a greater appreciation of 
the beauties of your original work. 




SIXTH LESSON 



IF the designs you have so far submitted for criticism 
were marked Ib'^/o and better, then you can consider 
yourself a designer and ready to attempt the more in- 
tricate subjects of embroidery designing. 

More than 50/c of the designs used in embroidery are 
and have been designed by the methods you have learned 
to use in the foregoing lessons. 

By intricate, we do not mean more elaborate designs, 
but designs which are balanced differently, and in which 
you cannot fold your paper or material mechanically, but 
in which you must use careful division in deciding the 
correct place for the repetition of your motifs. 

Until now you made your designs with a single reverse, 
a double reverse, a quadruple reverse, or, if you ventured 
further, an octuple reverse. These result in numbers 2, 
4 and 8. 

We now have to handle 3, 5 and 6 and, having mas- 
tered these, you have all the technical knowledge of de- 
signing at your disposal, for with this knowledge you will 
be able to handle any possible combination that might 
arise. You have only about one chance in a thousand to 
make a seven division or anything higher than that in the 
uneven numbers. Should such an event arise, the in- 
structor will be glad to help you out. 



Designing for Art-NeedleTvorI( 



THE TRIPLE AND SEXTUPLE BALANCE 

THESE will be handled together, for the reason that 
they are inseparably related one to the other. First 
of all, both are central balances and, second, both are in- 
tended for use on circular forms of design or design-parts 
and third, their easiest division is by use of the radius 
which is the half diameter of a circle. 

The main difFxulty of this method is to make you un- 
derstand EXACTLY what is wanted. That is to say, 
HOW TO FOLD THE PAPER OR 
MATERIAL for this style of balancing. 
Follow the instructions closely. Take 
a piece of paper 1 2 square, no larger. 
Make the regular a-a fold and crease. 
Now make the b-b fold, BUT DO NOT 
CREASE — merely mark the center of 
your paper by pressing hard on the a-a line where it 
crosses the b-b line. Now mark this exact center with a 
pencil dot. 

Take the scalloper and use it as a compass to make a 
section of a circle (see plate 10). 

The distance from the central pivot of the scalloper to 
the hole with which you have made your circle is the half 
diameter or radius of the whole. This radius divides the 
circle into SIX EQUAL PARTS. 

Start from the point where the a-a line is out by the 
circle and measure straight across the circle line as shown 
in plate 1 and mark the length of the radius on it. Re- 
peat on the other side, then go over to the other crossing 




XSS*/. 



Designing for Art-Needlervork 



of the a-a line and the circle line and measure right and 
left, marking your points on the circle. 

To prove your distances, check up the distances marked 
" y " on the diagram with those marked " x " and if they 
are exactly the same length, you are correct. If they are 
not, you have erred somewhere. 

Always measure twice before you begin to design. Be 
sure your divisions are correct, then go ahead. Test your 
measurements carefully, for accuracy is the quickest way, 
after all. If you find any difference between lines " y " 
and " X ", from the same given point, locate it and then 
correct it. 

The next step is to place your paper before you so that 
the a-a line is to the right. We shall call the upper di- 
vision point " d " and the lower " e ". (See 
diagram No. 25.) 

Put your right thumb on the spot corre- 
sponding to the " X " on the diagram and fold 
your paper back, bringing the a-a line toward 
" d '* being careful that your creased line 

starts from the center of your circle and paper. 
Crease very accurately. (See diagram No. 
26.) 

Unfold your paper and compare it with the 
diagram No. 27. It will show the a-a crease 
fully and the e-e creases both right and left 
of a-a, the right being creased up, the left 
down. 

You will note that your surface has 
been divided into THREE EQUAL 
PARTS. 






Designing for Art-NeedlervorJ^ 




The next step is to boldly crease the paper across, one 
up and one down on the e-e line, which cuts through point 
" d ", thus giving you SIX EQUAL PARTS. 

Now take hold of your paper with your left hand so 
that your thumb touches the point marked *' x " in the 
diagram, and your fingers touch the point 
marked " xx ". Close in and lift the 
paper, forcing the crease backward. It 
will yield easily, but use care to fold it 
backward EXACTLY ON THE 
ORIGINAL LINE. With your middle 
finger, push back line a-a. Place your forefinger on that 
line (see diagram 29), and 
your paper will be in a position 
to work on. 

Neatly press the paper to- 
gether and lay it before you. 
Fold once more across the e-e 
Ime, then slip your carbon 
paper into place. BE CAREFUL TO ALWAYS 
USE THE LEFT E-E LINE AS 
A ■■•., A YOUR AXLE. The design must be 
\ V - - \ ^^^^ accentuated with a sharply pointed 
Ns^o.^ S. y^ pencil, so that it will be reproduced on the 
bottom sheets. 
If you use a heavier material than a cheap 
grade of cambric, you must use a different 
method of transference, which will be explained 
later on. V 

Unfold your paper and your design will be seen on the 
entire object, in exactly the places desired. 





Designing for Art-Needlervorl^ 




In case of a sextuple balance, the same folding process 
is used. However, on account of the increasing thick- 
ness of the material, fold only the top part 
instead of folding once more the whole com- 
position. (See diagram.) 

Flap it back and draw your design on the 
left side (see diagram 33), then strengthen 
your pencil lines and rub it over onto the 

other side. Now insert your carbon paper, 
go over your whole design with the help of 
your motifs and when the paper is unfolded 
your design will be completed. 

Remember that accuracy is the basis of 
all successful work. If you are accurate and sure, you 
cannot fail to produce excellent designs. 

Exercises: Make three designs in the three-fold and 
three designs in the six-fold methods. 




THE QUINTUPLE METHOD 

THE folding of paper or material cannot be done here 
as m former cases, for it is simply impossible to fold a 
sheet with five creases without getting into trouble on ac- 
count of its double ten. The VON system of designing 
IS intended to teach along the simplest way, therefore, 
when the so very useful method is not the simplest, we dis- 
card it and resort to another. 

Ascertain the center of your paper and encompass it 
with a circle made by the scalloper. Divide this circle 
into five equal sections. The quickest way to find the cor- 
rect measurements is to take the radius of the whole and 



Designing for Ari-N eedlervork 



divide it into five equal parts. Add ONE-FIFTH of 
your radius to the radius and you have the answer. 

Mark the points on your circle and make a direct line 
from the center of the circle through the dividing points. 
Cut a triangle from another piece of paper to exactly fit 
one of these sections, for if it fits one, it will fit them all. 
Be careful to get the triangle to exactly fit the section. 

Plate 1 will serve as a guide. 

A suggestion: In order to obviate a division of five 
sections for every article you wish to design in this style, 
you may carefully extend this triangle to about 24" in 
length, which will give you a tool to use in every case of 
five-fold divisions. This instrument should be made of 
cardboard, and it may also serve as a ruler. Neverthe- 
less, it is essential that you know how to 
divide a circle into five equal parts. (See 
diagram 34.) 

When your five sections are estab- 
lished, fold your paper once through the 
narrow angle and crease, then lay it flat before you. (See 
diagram No. 34.) Consider the size and arrangement 
of your design, mark a line inside of which you are to 
work, then go ahead and use your motifs as cleverly as 
you can. When a fifth section is finished, rub it over 
onto the material to be embroidered, 
strengthen the lines, then ascertain the 
exact center of your cloth, and place 
the center of your fifth section exactly 
in the corresponding center of your ma- 
terial. Weight the section as indicated 
on diagram No. 35, place the carbon 





Designing for Art-A^eedleivork 7 

paper beneath and go over it lightly, for you are now- 
marking a single fifth section. Before removing the 
paper, mark the edges of the section on the cloth. Now 
move the section over center on center of cloth, making 
the edge of the paper fit the edge indicated on cloth, 
weight it and mark over your design, thus finishing a sec- 
ond section of your object. Continue the process until 
you have the five completed sections. 

This method is somewhat lengthier than the folding 
process but you have, as a result, an absolutely clear copy 
and, besides, if you use two, three, even four sheets of 
material you can, by placing carbon paper between, dupli- 
cate your design and have four finished objects made with 
one effort. 

In many cases, this method of designing will be found 
advantageous in place of the regular folding process, on 
account of the absolutely clear copies produced. In case 
you use this method, it is advisable for you to make a cut- 
out for 3, 4, 6 and even 8 sections from cardboard, mark 
them correspondingly and keep them handy for future use. 

LINGERIE AND DRESS DESIGNS 

THE designs demanded most today are in lingerie and 
dress patterns. At first glance, making designs for 
these irregularly shaped objects seems difficult, but a care- 
ful adherence to the instructions given in this lesson will 
teach you that they are almost as easy as designing a 
cushion cover. 

First of all, most of the designs belonging to this class 
are singly reversed designs, although, once in a while a 



8 Designing for Ari-NeedleVi>orl( 

freely balanced middle section is employed. The scal- 
loping, as the student learns the use of her scallop marker, 
will be very easily accomplished. 

The main points to be observed in designing for any 
sort of dress and lingerie articles are: 

1. The object of the design must be cut out to the 
shape required, or the edges of the cutting pattern marked 
on the cloth or paper, to serve as a guide for the design. 

Any sort of a paper cutting pattern can be bought for a 
small sum, from the simplest corset cover to the most elab- 
orate dress. These are provided with instructions for 
making and the pieces are numbered so that the designer 
cannot go astray. All that is expected of the designer is 
that she know just where to place the design. If she is 
doubtful, a glance into a fashion magazine will furnish 
ideas. 

2. The Designer MUST ALWAYS remember that 
the lingerie or dress is a garment and that right and left 
repetitions are only simple reverses. (Study plate 1 I and 
learn whether there are, besides single reverses, any other 
methods employed.) 

3. The designer MUST ALWAYS remember that 
lingerie demands very fine and dainty motifs. Dresses, 
on the other hand, quite often permit of heavier treatment 
— even arts and crafts or the mission styles are permitted. 

4. In designing for these garments, the designer must 
know the fashion of the day. It is advisable to have a 
few fashion magazines handy and to follow their sugges- 
tions, for sometimes there are decided demands for certain 
styles of designs. French and Eyelet work are practic- 



Designing for Ari-Needlework 9 

ally staple and they are satisfactory for lingerie, but col- 
lars, cuffs, jabots, belts, ties, yokes and all other designs 
change in style from season to season. 

Make it your duty to keep up-to-date in these lines. 



c 



DESIGNING A ONE-PIECE GOWN 

A SIMPLE object like a one-piece gown is usually deco- 
"^^^ rated with a single reverse design. Having cut out 
your material, fold it very carefully on the 
a-a line, and crease it. If it is a soft ma- 
terial, great care should be exercised in 
doing this. If the material has a right and 
wrong side, see that the RIGHT SIDE IS 
TURNED IN. Place your copy sheet 
in its place, first for the scallops around the 
neck. Begin at the center front and work 
back, adjusting the last scallop on the cen- 
ter back. Now scallop sleeves boldly along a straight 
line. Should you desire a fancy edge, make the b-b fold 
and a four-fold copy. Your own taste will tell you which 
to make. Now make ready to place the design on the 
front of the gown and on the sleeves. Use your own 
judgment as to how and where, using the same process as 
instructed in doing the baby pillow in lesson five. The 
hem of the gown is seldom scalloped, but if you desire to 
do so, fold your b-b line and begin at the center front, 
letting the ends run off. 



N<530^ 



Designing for Ari-Needlevpork 



DESIGNING A THREE-PIECE CORSET 
COVER 

npWO fronts and the back are to be considered. The 
■*• back being one piece, fold it on the a-a hne and put 
scallops as shown in diagram No. 37. 
The two fronts should be very care- 
fully laid over each other. In case the 
downward scallop should appear only 
on one side, remove the other side be- 
fore beginning. 

This design is also a simple reverse. 
The eyelets for the lingerie ribbon are 
made by counting the scallops and using 
them as a guide: place two eyelets in 
every fourth scallop, starting from the 
center front. 

The student has by this time acquired valuable informa- 
tion, and if she is at all ingenious, she will be able to find 
a way out of any difficulty. The instructor, however, 
stands always ready to answer any questions. 

Worl^ to he sent in: 

One design on paper showing the triple balance. 
One design on paper showing the sextuple balance. 
One design on paper showmg the quintuple balance. 
One design on paper for a one-piece gown. 
One design on paper for a three-piece corset cover. 
Mention the fashion paper or magazines you are now 
taking. 




ocr 13 i:jij 



SEVENTH LESSON 



DESIGNING FOR DRESSES AND ALL SORTS 
OF WEARING APPAREL 

CONSIDERING the wide scope of this field and the 
fact that all the foregoing instructions have provided 
the student with all the knowledge and tricks of the 
trade, it is of no practical use to go into the various details 
of this particular branch. The motif plates provided and 
the knowledge the student has gained by the time she has 
reached this lesson, will leave no doubt in her mind as to 
** how to do it." Therefore, only hints are given for 
such occasions as when the student might not feel per- 
fectly certain of the method to be used in particular cases. 
It is the idea of the VON system to put every detail in 
as few words as possible, for Mr. von Horvath's experi- 
ences have taught him that set rules in regard to this part 
of the designing are not advisable. All the student needs 
is someone to point out to her where and how to get the 
correct information in regard to sometimes alarmingly new 
things. 

INFANTS' AND BABY WEAR 

THE character of these objects is so clearly defined, 
both in material and design that a little study will 
make you fully acquainted with them. 

The materials are characterized by softness, the de- 
signs by daintiness. It is but natural that the " white 
hope " should be dressed in the most pliable of materials 



2 Designing for Art-Needlework 

and that the fabric be decorated with the daintiest possible 
designs. As a natural result of the mother's belief that 
nothing is too good for baby, the designer has a wide 
field in which to develop more elaborate designs for the 
baby than for the grown-up. However, do not take this 
as an encouragement to over-do it. The designs most in 
demand are those which are the most fragile, simple, but 
strikingly attractive. A harmonious grouping of your 
motifs goes much farther than the most elaborate creation. 

Most of the mfants' wear are simple cuts and the single 
reverse method will fill most wants. On coach covers, 
bedspreads, a freely balanced design group should be 
placed in the center, and this group framed with a single 
or double reversed group of motifs. 

Nightingales, well known favorites, are cut from one 
piece of material and the single reverse is the best for them. 

For capes use the central balancing method in con- 
junction with the single reverse. 

For bibs, bootees and hoods, procure cutting patterns 
and use the freely balanced or the single reverse methods. 

Baby dresses are either of one piece or yoke dresses 
with set-in sleeves. In the latter case, the design goes on 
the yoke, the sleeves and eventually panel-like in the 
center of the front. Sometimes the yoke continues into 
this panel. 

Exercises: Buy cutting patterns for a nightingale, a 
bib and a hood and make designs to fit these patterns. 
Send in cutting patterns with the designs for criticism. 
Ask questions on the drawing, when in doubt. 



Designing for Art-Needlework 3 

CHILDREN'S DRESSES 

'T^HE character of the materials used on these is dura- 
■*■ bihty; the designs, simphcity. 

A glance over a fashion magazine will show you where 
to place the design. The means to produce these de- 
signs are exactly the same as on the baby dresses. The 
design itself can be of much more substantial character 
than in the baby wear. 

In many cases the designer has to handle more pieces 
of material than in baby wear, that is to say, the cutting 
of the child's dress may be of a more complex nature, for 
instance, a collar, cuffs, yoke, panel, belt, etc., may all be 
of a separate material. 

While Eyelet, French, French knots, etc., predominate 
in infants' wear, conventionalized floral effects, even arts 
and crafts style can be applied on children's dresses. 

Special care should be taken to make boys' blouses, 
suits and dresses VERY, VERY SIMPLE. 

DESIGNING FOR DRESSES 

THIRST of all, the designer should consult the latest 
fashion magazines. As far as embroidered dress 
goods and wearing apparel go, the Modern Precilla, pub- 
lished in Boston, Mass., is the authority in this country. 

Next, consider the lady for whom you intend to design 
the gown. Follow her taste and appearance very closely, 
for she is the one to wear the finished article. Consult 
her when the design is on paper. 

Strive to arrange your motifs to fit her individuality. 



4 Designing for Ari-Needlervork 

A well balanced design will make a tall person look 
taller, a slim person still slimmer, but beware of the plump 
figure! Do not make this lady look still heavier by your 
design, it will mean war! 

Single and double reverses are the balances which occur 
most often in dress designs, but your cutting pattern must 
guide you in this. It is important that you use the same 
motifs in the different sections even, if possible, the same 
motif plate, so that you may be sure that your composition 
is correct in every detail. 

Remember that panels over-decorated and yokes 
heavily burdened with designs are awkward, no matter 
how harmonious your composition is. Strive for airy, 
light effects, always. Small scattered groups are always 
preferable to a whole, under all circumstances. 

After all this is said in regard to dresses, it is the stu- 
dent's duty to work out her own salvation for, in the end, 
no person can be taught designing, if she has no ingenuity 
or aptitude for the art. 

DRESS ACCESSORIES. HOW TO DESIGN 

THEM 

THE following articles are mentioned as examples and 
not as a complete list : 
Collars, cuffs, jabots, yokes, caps, belts, fans, bags, 
parasols, slippers, purses, powder puffs, garters, ties, 
stockings, etc., are all subject to the designer's art. 

All of these and many others, afford an opportunity to 
the designer to decorate with little pleasing designs. 
Every one of these objects can be handled by some of the 



Designing for Art-Needlework 5 

methods already known to the student. No set rules can 
be given in regard to them. As long as the student has 
her eyes open and her initiative with her, she will get along 
all right. 

Cast the word " doubt " from your vocabulary. Trust 
that these unique rules crystallized by the VON system of 
teaching designing cannot fail and, above all, TRUST 
IN YOUR OWN ABILITY. Any one who has 
gone this far in the course, and has received 75^^' and 
above on all her work, is a designer and, as such, you have 
a great deal of dormant talent which, with practice, will 
respond to the call. 

LINGERIE DESIGNING 

TN addition to the chapter dealing with this sort of de- 
sign, in the sixth lesson, a few more facts will here be 
given. 

The materials used for lingerie are all sorts of Nain- 
sook, chiffon, batiste, percale, crepe and fine linen. For 
certain styles of designs, certain materials are better than 
any other. Make yourself acquainted with these facts. 

Any drygoods house will give you samples of the above 
mentioned materials for the asking, and it is to your benefit 
to get them. 

The past year has introduced a great deal of colored 
fabrics into this class of wearing apparel : pale pinks, blues 
and figured crepes, for instance. 

Keep abreast of the times, and store away all such 
practical knowledge that you can pick up from people 



6 Designing for Art-Needlervork 

who handle this class of goods, for you can never learn 
too much concerning your profession. 

The main difficulty of the designer is the hardship of 
handling big pieces and keeping the crease in place. In- 
stead of weights or thumbtacks, pin the material together 
with pins, or baste. 

For designers who desire to specialize in this line, it 
would be advisable to invest in stencil boards and make 
large cutouts for scalloping purposes. Such devices give 
the designer speed and aid in making the tedious scallops 
and thus leave more good humor and hours for actual 
composition. If you doubt your own ability to make 
these, the VON studio will furnish them at a small cost. 

One of the most absolute requirements of a designer is 
a large, flat table, arranged so that a good light comes 
from the left. Try to provide for your own comfort. 

CROSS-STITCH DESIGNS AND HOW TO 
MAKE THEM 

T^HE cross-stitch work is, as its name plainly says, a 
stitch that produces a cross on the surface of the em- 
broidery material. Its origin is very far back in the his- 
tory of art-needlework, and its style was quite naturally 
suggested by the mesh of the cloth. The real cross-stitch 
embroidery should never be carried out on smooth linens 
by following a stamped or marked design but it should 
be counted on a canvas made for this purpose. 

It is, however, too late to say that this way or that way 
is not the right thing, since the first mistake was committed 
many years ago, and the embroidering public has accepted 



Designing for Art-Needlework 7 

and demanded cross-stitch designs on anything and every- 
thing. Therefore, instead of protesting against the prac- 
tice, the designer must find means to satisfy the pubhc's 
wants. 

It is simple to design the naive cross-stitch designs, but 
it is also very tedious. All the rules of the designer's art 
hold good in this style of design, though the motif plates 
you now possess are not all suitable for this work. De- 
tails shall not be gone into, for in the next lesson you must 
learn to stand on your own feet and the limitations of the 
motif plates will be ignored. 

Take plate I , known as "Arts and Crafts Motif 
Plate " and the cross section paper that is enclosed with 
this lesson. (You can procure an additional supply of 
this cross section paper at any art store.) Fold and 
crease the a-a and the b-b lines carefully parallel with the 
mesh of the paper. 

On the upper left section, compose a design with motif 
plate No. 6. Mark lightly. Then take a medium soft 
pencil and fill each motif with crosses as best you can, 

from one corner of the mesh to the opposite , ^ 

corner, making a cross. (See diagram No. JXi]^-^^- 
38.) Do not hesitate to run outside the 
marked line of the motif, for the character of the cross- 
stitch demands this. 

A single reverse, a double reverse, a central balance 
with suitable reverses, can all be applied to cross-stitch de- 
signs and all work very well until it comes to putting the 
design on the material itself. This process takes patience. 

Fig. 40. b shows some examples of cross-stitch designs 



8 



Designing for Arl-N cedlework 



and the student is requested to follow these styles as a 

beginning. 

Take Motif plate No. 6, mark your composition on 

the cross-section paper as you have been instructed. 

Group your motifs, but instead of filling them in with 

crosses, edge it with pencil 

-(4iU4 marks to follow the mesh of ^^Wf-Kro i,n 

:"::j:k939. .1 ,1 /Q J- -^^Sf^«^ ■ 

^ 4f the material. (oee diagram t^^ppm^ «* 

No. 39.) This results in a 
design that is at least 75% easier to accomplish than the 
filling in method. By reverses, finish the desired design 

and proceed to transfer it to 
the material either by rubbing 
it over or by the method 
given in the sixth lesson, un- 
"1 ^^s5v fflffi^ ^^8 ^^"^ the title "Quintuple 
V,^'*'^^^.,^^ Method." 

Once the design is on 

the material, it should be 

stretched on a frame or a 

good sized hoop, so that the 

entire design shows at one 

time. Take great care in 

stretching it evenly. 

Any art store carries a net, scrim or canvas that will 

match the cross section paper, and this the student must 

procure before attempting to embroider the design. 

Place this scrim, net or canvas over the stretched de- 
sign, so that the outlines of the design match the threads 
of the scrim and baste it securely in place. Now the de- 
sign is ready for the embroideress, who understands, of 




N9 UCb 



Designing for Ari-Needlework 9 

course, that the cross-stitches should be made within the 
threads of the scrim, from corner to corner. When this 
particular section is finished, simply remove the net and 
use it on the next. 

Work to he sent in: 

Design on paper an infant's dress, a child's dress, a 
lady's waist with collar and cuffs, a design for a belt and 
for a small hand bag. 

A cushion cover in a simple cross-stitch design. Use 
the method that suits you best. Write any question on 
the design itself. 



EIGHTH LESSON 



WHERE EMBROIDERY AND CHINA 
DESIGNING MEET 

THE past decade in the field of art-needlework has 
seen a great change in the development of this charm- 
ing art of home decorations. From being purely 
decorative, art-needlework has become usefully decora- 
tive, broadening out into actual commercial value. 

The student has, from the previous lessons, covered the 
whole broad field and is now in a position to understand 
the meaning of this statement. She realizes that there are 
thousands and thousands of opportunities in this popular 
and useful art to be utilized. 

One of the latest and most generally successful phases 
of the combination of purely decorative and usefully dec- 
orative use is that of embroidery and china painting. 

Every hostess takes pride in a beautifully appomted 
table, and what is more beautiful than a harmonious set 
of luncheon or tea dishes which carry out the design that is 
used to decorate the tea cloth? 

Both embroidery and china painting are popular arts 
and both can be done at home. A tea set, when the de- 
sign, shape and material are well chosen, cannot help but 
be the pride of the hostess' heart. 

Mr. von Horvath was the originator of the popular 
Stola Luncheon sets and the simple china sets to match 
the design on the cloth, some time ago, and this combina- 
tion of dishes and luncheon set has been copied by all the 
concerns carrying a full line of art-needlework patterns. 



2 Designing for Arl-Needlervork 

Any department store and art-needlework store carries a 
sample of this idea, which you can examine for mspiration. 

It is within your province to devise a set which might 
prove as popular as the Stola Luncheon Sets. There are 
so many possibilities open to you in this field that it would 
pay you to exercise your ingenuity m originating some- 
thing new. 

Remember always that the natural tendency of this age 
is toward harmony in everything. Keep this fact in mind 
and when developing an idea, strive to bring it into a still 
closer touch with other decorative possibilities in home 
arts. 

A well-proportioned, fashionable luncheon set consists 
of a large centerpiece or table cover. This may be round, 
square or Stola effect. In addition, there are plate doilies, 
tumbler doilies, tray cloths, buffet scarfs in sufficient num- 
ber, and napkins, napkin rings. 

The china set may consist of a coffee or tea pot, cups 
and saucers, plates, sugar bowl, cream pitcher, platter, 
vases, etc. 

If a floral pattern is used, for example, a daisy, you 
can picture the beautiful effect of a table laid with such 
an outfit, the center of which holds a vase containing a 
few daisies and decorated with the same flower. With- 
out question, such a sight, whether imaginative or real, is 
a real source of enthusiasm to the designer. 

This combination can be carried out in dresser sets, 
which would, naturally, consist of a pincushion, scarf, etc., 
embroidered, with a tray, powder box, hair receiver, pin 
tray, etc., in the decorated china. 



Designing for Ari-Needlervorfc 3 

TOWELS AND PILLOW CASES 

T^HE last and equally important details on which we 
have to dwell, so far as art-needlework designing is 
concerned, are towels and pillow cases. 

There is a steadily growing and just demand for de- 
signs in this line, which makes it imperative that a few- 
words be said about their general characteristics and treat- 
ment. 

To compare this sort of designs, the same principles are 
used as for the scarfs and cushions. You are well able to 
handle them, with the system you have already learned in 
the foregoing lessons. All that needs to be mentioned is 
the placing of the design. 

Both towels and pillow cases are generally finished with 
scalloped ends. If they are to be hemstitched or finished 
in any other way, all that is expected of you is the design. 

Make the a-a crease in the usual manner, but the b-b 
crease must be made on the line of the scallops, instead of 
through the center of the a-a crease. The scalloping 
should start from the a-a crease and run to the edge, so 
that the last scallop will end in the middle of the scalloper. 

The single reverse is a good arrangement for wreaths, 
and all designs which permit the placing of initials. You 
may use any other method of application, however, just 
as you please. 

Pillow cases are mostly of tubing, woven in one, and 
the scallops must, naturally, extend all around. By prop- 
erly placing carbon paper, the entire scalloping can be 
done at once. 



4 Designing for Art-Needlervori( 

As in the towels, the majority of pillow cases are to be 
decorated with design on one end only. The day case, 
or envelope case is the only exception. In this, a single 
reverse, with design nicely curving from the center toward 
the edge, will answer. 

SOURCES OF ORIGINALITY 

T^HE practical student, and the discriminative student, 
•■■ has very likely been wondering if the VON system 
expects her to do all the designing with the four motif 
plates which have, so far been used exclusively. 

In the beginning, it was hinted that this was not the 
case; instead, these motif plates serve only as the means 
to facilitate the student in her pursuance of the art of de- 
signing, so that, even though she has no ability to draw, 
she will be able to make creditable designs. 

By the time the student has reached this lesson, she 
should have acquired sufficient skill in the use of the pencil 
to answer most needs, but, as her professional career de- 
velops, she is expected to discard the motif plates entirely, 
or, at least, a partial use of them. 

Mr. von Horvath's long experience in designing for 
embroidery purposes has enabled him to select the most 
vital motifs and, under all circumstances, the four motif 
plates included with this course must be used for basic 
construction of designs. The student has, however, be- 
come familiar with these motif fragments, both in use and 
contour, and will be able to use them without conscious 
thought. 



Designing for Art-NeedlervorJ( 5 

From now on the student should be able to make use of 
every Idea that comes to her. 

There are two practical motif sources open to the stu- 
dent. One is the finished art work of other designers and 
artists and the other is a still richer field : nature itself. 

In the fourth lesson it was advised that the student be- 
gin a collection of clippings which would be of inspiration 
in designing. Every newspaper, magazine and weekly 
paper contains numerous such details in the decorative 
sense, which can be used as motifs. You must not use 
these as they are, though that can be done, oftentimes, to 
good advantage. 

Embroidery designs are generally of plant motifs, and 
naturally the whole fauna family is at your disposal to 
supply you with motifs. You can find all sorts of small 
life forms on a meadow, which can be used as they are. 
Flowers of regular forms can be cut into one motif or dis- 
sected into details, to be arranged in a design according 
to your fancy. iPetals, stems, chalices, all can be used. 
Every bush, tree and vine has something to offer you. 

If you have designed an attractive group of motifs, and 
want to use it in your future work, you can send the design 
on paper to the V^ON Studio and it will be reproduced on 
celluloid and returned to you at a very small cost. 

Where you are unable to construct the motif group 
successfully, the VON Studio will be glad to offer sug- 
gestions. 

FINAL EXERCISES: Design a stola luncheon 
cloth and the necessary doilies to accompany it. Make 
design of monogram and motif group for napkins to match. 



6 Designing for Art-Needleivork 

Design a towel and an envelope pillow case. The 
latter must measure 22 " x 36" front measurements. 

Send in a dozen new motif ideas on a piece of trans- 
parent tracing paper, if from nature, or as you have 
clipped them from magazmes, papers, etc. 

Write a letter stating frankly whether or not there are 
any points in the course which are not absolutely clear to 
you. 

Advise whether you have succeeded m disposing of 
any designs. 

THE IMPORTANCE OF THE EMBROIDERY 
STITCHES 

T^MBROIDERY begins with the designer's pencil, but 
it ends with the embroideress' needle, therefore the 
designer should become familiar with as many stitching 
methods as possible. 

In the following illustrations, thirty-six different stitches, 
the most popular, are pictorially explained. A study 
with thread and needle in hand will enable any student to 
carry out these stitches by simply following the drawings 
step by step. 

The importance of the stitches rests in the effect pro- 
duced, and by which the design is brought out to the best 
advantage. 

Certain stitches produce smooth effects, others coarse 
and, considering the class of the material mostly used in 
embroidery, the designer should indicate just the stitch 
best suited to produce the effect she desires. 



Designing for Art-Needlexvork 





wMcm 



F£ATH£(^::3t 




Of^OS.!^ S»t-.toh 




CJ; V f^o^Pu N c ►• V/o f^ 1 s. 




riY>.it,MTCr>V>i>^ 






The direction in which the stitch is worked also has a 
bearing upon the success of the design, and special care 
should be exercised in starting off in the right direction, 
and adhering to it. 

In the arts and crafts style, the outlining of a design 
may very often improve the composition, and otherwise 
flat appearing embroideries can be turned into strong, im- 
pressive art products. 

The most important thing the student should know in 



Designing for Ari-NeedleTvork 





LOMO, — qSh 





l^Ai&eeF'iSHBoiMt.St 





IFisMBOKjcSl 





TiXencmKnot* 



WaLACM.ANo,'&u 




Plate 12. 



regard to stitches is the hmit of the length of a single 
stitch. This is especially important in " satin " or, as 
many call it, *' the over and over stitch." A stitch that 
is too long will not lay flat in its place, and it hangs loose, 
therefore great care should be taken. 

The motif plates are so constructed that they regulate 
the stitches to a great extent, therefore the student cannot 



Designing for Art-Needlexvork 




OIXAU C^TlXCt 




[_ AOoe»\^ 




3....0.K'' 




%^ 




FbrnS. 



Loop Stitc» 



MrLLtFLEUR^SriTCM 




il 





r 



''^. 



Punch Wo R,K 



MediavclSstitch 



R/MitD F^oseSt. 



Plate 12. 



go far wrong. However, she is now her own master, and 
her originaHty is in full sway, and she should always con- 
sider this matter of stitches when designing future motif 
plates. 



10 



Designing for Art-Needlen^ork. 




>StEM £>TirCH 




Ohain s>titch 




lAirM .S.TITCM 





C^PtN CHAIN ^T. 



C3(&I^MAN I^NOT :&T. 





^He.vR.e.N AT>TC-f 





\VAVS0P COUCMINC^ 



Loop .&TITCH 



£.^ 



Plate 12. 



COLOR SELECTION 

T^O make this course as complete as possible inside of 
•^ the limited scope, a comprehensive study of color se- 
lection IS given in the following paragraphs : 

It is an old saymg among fancy goods people that a 
good design can be ruined by poor color selection and that 
a poor design might be rescued from certain oblivion by a 



Designing for Ari-Needlcnwrl^ 1 I 

strikingly good color scheme. And therein lies a great 
deal of truth. 

Naturally, those who put thought into this wierd busi- 
ness of beautifying by needle and thread, have considered 
the question of colors very thoroughly and their experi- 
ences have taught them to judge — but there is a long way 
between the adjudging of the finished product and the 
actual production of it. The judge might base his praise 
or condemnation on his taste, which has been refined by 
long experience, but the designers who develop their own 
color schemes (and this they should all do) have to build 
up the clothing of their brain children from a surer funda- 
mental basis which is taught in the Academy of Fine Arts 
under the name " Color Theory." 

The color theory is nothing else but the principle of 
beauty in colors systematized. 

Chromatics (or, to use a more popular expression,- the 
science of color) divides the colors into three classes: 
Primary colors, secondary colors and broken, or tertiary 
colors. 

The primary colors are : red, yellow and blue. These 
are spectral colors and cannot be produced by mixing. 

The secondary colors are: orange, green and purple, 
also spectral or rainbow colors, but they are invariably the 
result of the mixture of two primary colors. 

The primary color missing from the mixture of the sec- 
ondary color is called the contrast color and plays a very 
important part in artistic color application. 

To make this more comprehensive, it will be explained 
thus: 



12 Designing for Art-Needlework 

T^ 1 > produces orange — contrasting color is blue. 
T^j > produces green — contrasting color is red. 

rji - produces purple — contrasting color is yellow. 

The tertiary colors are the mixture of the three primary 
colors or any two secondary colors and, according to the 
proportion of the individual colors, they can be varied ad 
infinitum. 

The tertiary colors, for the embroiderer as well as for 
the painter, are the most important. In the realm of these 
colors belong the many shades of browns, grays, pinks, 
olives, delfts, etc., and almost the whole color card. The 
real primary colors being too harsh. 

Besides knowing the contrasting colors and their uses 
in the modifications of the tertiary color products, it is 
very important that the designer consider the technical 
terms " cold and warm colors." 

When the embroidery threads are applied on a cloth, 
they represent colors in the designer's eye, just as much as 
if he had used pigments for his purpose, and he has to 
know the effects of these colors when placed side by side. 

A warm color is a tint that comes forward and a cold 
one has a retiring disposition. In the warm colors red 
and yellow predominate. Blue is the chief cold color, 
but with yellow it still remains cold if blue predominates. 
Also a neutral gray belongs in the class of cold tints. 

To illustrate the usefulness of this color theory, it is 
enough to mention one example. 



Designing for Ari-Needlen>ork 1 3 

Knowing the effects of the warm colors, the designer 
should always insist upon a warm color for that part of 
his design which he intends to bring out strongly. And, 
to strengthen this effect, he should use cold tones which 
emphasize the warmth of the predominating color by their 
retiring quality. 

That no controversy shall arise, I want to mention here 
that this theory is for the use of the artist only; he who 
works with tints or colored threads, for otherwise the 
primary colors accepted in physics are Red, Green and 
Purple. 

Aside from the colors just related, the effect of pure 
white and black must be considered. Black, especially, 
is very important in colored embroideries and its use very 
often strengthens the design. For outlining it is the most 
popular medium. The effectiveness of gold and other 
metallic threads helps in very many ways to give new 
effects and to produce striking contrasts. 

For the designer who knows the various methods of em- 
broidery, and the numerous products used to put color to 
the design, the theory of colors is a great help, and this 
knowledge, a great many times, aids him in avoiding the 
costly experiments of hunting for the right combination. 
Therefore, it is an asset, a matter of saving on costly first 
models, and consequently, a saving of precious time. 

EMBROIDERY— WHAT IT SHOULD BE 

'T^HE term *' embroidery " is used, in common parlance, 
■*• to express any kind of superficial ornamentation. A 
poet is said to ** embroider the truth ", but such meta- 
phorical use of the words merely hints at the real use of 



14 Designing for Art-Needlen)ork 

the word. Embellishment, enrichment, added. If 
added, there must be, as a matter of course, something to 
which to add, and that something is the material on which 
the needlework is done. 

In weaving, even m tapestry, the pattern is gotten out of 
the warp and weft. In the lace, from the threads form- 
ing it, but in embroidery the thread is applied to some 
woven or netted material. Of course there is always an 
inevitable overlapping of the different crafts, for instance, 
drawn work. 

It is not the intention of the writer to go into the details 
of this beautiful craft, for that would mean too long a 
journey, and the reader would tire. The one question to 
be taken up is: " What embroidery should be! " And 
to this there is only one answer: "A decoration." 

Be it a useful object, or an article of luxury, the em- 
broidery applied to it should be of decorative value and 
the one aim should be to make it more pleasing to the eye, 
more valuable on account of its beauty. 

It is an easy matter to make this statement, and easier 
to accept it, for a deeper insight into the present-day state 
of the art-needlework would send horror into the heart of 
the mediaeval artisan. Imagine the good, bearded fel- 
lows who created the rich ecclesiastical embroideries of the 
fourteenth century settling down to tackle a corset cover 
or a sachet puff, or what not! 

But what he would think, or how many times he would 
turn over in his ancient grave, does not bother us. We 
must swim with the current and accept the things and 
times as they are. In this commercial age there is no 
limit to " what might happen." Dignity is no more what 



Designing for Art-Needlework 13 

it was and the designer and embroideress of today has to 
boldly invade realms where the forefathers would have 
feared to even peek. 

It is a problem how to keep up the enthusiasm and still 
create a beautiful piece of embroidery on a laundry bag, 
which is destined to be hidden away in a dark closet or a 
bath room or — but why go farther? Be it as it is, there 
is the standard of simplicity to be maintained and what- 
ever is done in embroidery, it SHOULD improve and 
embellish the object. It MUST give the article, whether 
something of luxury or of common usage, the stamp of art 
and beauty, and make it worthy, at least, as far as possible 
under the circumstances, of the noble examples of ancient 
embroidery as are handed down to us from the beginning 
of the embroidery-craft. 

THE COMMERCIAL SIDE OF EMBROIDERY 
DESIGNING 

"TJESIGNING in general is a lucrative art. While 
^-^ designers very seldom acquire the fame of artists and 
illustrators, their earnings compare very favorably with 
the famed ones. 

Commercial designing has so many branches that it 
would require pages to enumerate them, but they are all 
related to each other to a certain degree. The embroid- 
ery designer is closely allied to the china painter, the 
sketcher of fabric patterns, wall paper, etc. This fact is 
encouraging, for those of greater capacity for work, and a 
specialized talent will readily realize the vast opportunities 
offered. 



16 Designing for Art-Needlework 

However, the art of embroidery alone is so broad that 
it will offer more than sufficient reward to those who have 
followed the course as given by the VON studio. 

It is Mr. von Horvath's desire that every student who 
has enrolled shall reap due rewards, but this can be ac- 
complished only by the student's earnest co-operation. 
Therefore, it rests in her own power to succeed or fail. 

If you intend to earn your bread, butter and other de- 
sirable things by designing for embroidery, you must con- 
sider the various ways : 

1 . A salaried position. 

2. A studio. 

3. Canvassing for work personally and by mail. 

4. Selling designs through the mails. 

5. Connecting designing with an art-needlework 

shop. 

1 . Salaried positions for designers are plentiful, and 
the salaries given are in accordance with the designer's 
ability and the employer's demands. These range from 
$10.00 a week up to $100.00 and sometimes more. To 
secure such a position, it is necessary for the applicant to 
apply personally, exhibit samples of work and furnish 
references. This school will be glad to give all the assist- 
ance possible to students who have finished this course 
meritoriously. 

2. To establish an art-needlework designing studio 
does not necessarily mean that the student shall rent a suite 
in a studio building and spend a large sum in furnishing it 
in Byzantyne style. If you have an extra room in your 
own home, with sufficiently good light, a satisfactory 



Designing for Art-Needlervork 1 7 

drawing table and the right amount of aggressiveness, you 
can insert an advertisement in a paper, spread the news 
about the neighborhood, put a sign on your door, and 
begin to design. 

There are two very important factors to be considered 
when estabhshing a studio, however. The first is : let the 
right sort of people know that you are prepared to do 
artistic designing, and the second is: after you have once 
secured these people as customers, make every effort to 
give them the best that is in you. 

3, You can advertise in newspapers, with hand bills, 
folders, or any other way. In smaller towns, personal 
calls on the department stores, art-needlework stores, etc., 
will result in satisfactory returns. 

4. For those who like to be free and independent, this 
way of free lancing will be the most ideal of professions. 

There are a number of women's and household monthly 
magazines which publish art-needlework designs and these 
offer a good market to the designer who approaches them 
right. The list of these magazines, with addresses, is 
enclosed with this lesson. 

The designer who wants to sell to these magazines must 
comply with several demands, or her efforts will not be 
rewarded to any great extent. She must have designs 
which are strictly up-to-date, attractive, neatly done and 
NEVER CREASED. This means that each design 
must be free from all hints as to hov/ it was worked, there 
must be no pencil marks showing the first attempt at the 
design, no spots, no blots or smudges. To obtain a good, 
clean copy, the designer must make use of the RUB- 
BING process introduced in this course. 



18 Designing for Ari-Needlen>ork 

Each design must show the creator's name and address, 
affixed with a rubber stamp if possible. 

Each design must be sent flat or rolled, and there must 
be sufficient postage enclosed for its return. 

A short letter stating that the enclosed designs were 
offered for sale at regular rates is all that is necessary. 

The designer must possess an unusual amount of perse- 
verance if she wishes to succeed in this field, for editors 
are very critical. She must prove that her product is 
GOOD and then, once established, she will find her work 
in demand. 

If the designer can embroider, she will have a better 
chance to reach the editorial sanctum; if she can write a 
clear, short, comprehensive article describing the method 
of embroidering the object, she is almost certain of recog- 
nition, for designs, embroidered and cleverly described, 
cannot help but melt the most icy-hearted editor. 

5. Finally, we come to the combination of a retail em- 
broidery store and designing. This is probably the best 
and the safest plan. The store will help you dispose of 
your designs, and your designs will attract people into 
your store. 

An established store can well afford a perforating ma- 
chine with which to reproduce the designs. 

Always keep a number of designs on hand for selection 
purposes. This is especially imperative if the designer 
lives in a town where there are a number of art-needlework 
stores and department stores selling art-needlework. 

Watch the fashions and reproduce, in original designs, 
those that are most in demand. 



Designing for Art-Needletvork 19 

If you find it impossible to interview buyers personally, 
then use the mails, always enclosing stamped and ad- 
dressed envelopes with each batch of designs to insure 
return of those not taken. It is always advisable, how- 
ever, to make a personal appeal to prospective customers. 

It is impossible to go further into the question of retail 
embroidery shop and designing, on account of lack of 
space, but the student is entitled to write in for further 
information concerning this matter, for it is a pleasure for 
the VON Studio to help everyone make practical use of 
the knowledge she has acquired through this course. 

LIST OF WOMEN'S AND HOUSEHOLD 

PUBLICATIONS WHICH BUY 

EMBROIDERY DESIGNS 

California 
Apparel Gazette, 31 1 E. 4th Street, Los Angeles. 

Georgia 
Uncle Remus's Home Magazine, Atlanta. 

Illinois 
Health and Happiness, 222 N. State Street, Chicago. 
The Household Guest, 501 Plymouth Court, Chicago. 
The Milliner, 213 South Market Street, Chicago. 
The Women at Home, 222 North State Street, Chicago. 
Woman s World, 1 07 Clinton Street, Chicago. 
The Mothe/s Magazine, Elgin. 

Kansas 
The Household, Topeka. 



20 Designing for Art-Needlework 

Maine 
American Woman, Augusta. 
Needlecraft, Augusta. 

Massachusetts 

Modern Priscilla, 85 Broad Street, Boston. 
Home Progress, 4 Park Street, Boston. 

Minnesota 

The Farmer's Wife, St. IPaul. 

The Woman s Home Weekly^ 601 Second Ave., Minne- 
apolis. 

Missouri 
The Home Friend Magazine, Kansas City. 

New York 

Dress, Garden City. 

L'art de la Mode, 8 West 38th Street, New York. 
American Dressmaker, 41 West 25th Street, New York. 
Good Housel^eeping Magazine, 381 Fourth Ave., New 

York. 
Harper's Bazaar, Frankhn Square, New York. 
The Houeswife, 30 Irving Place, New York. 
The Delineator, Spring and Macdougal Streets, New 

York. 
The Designer, Spring and Macdougal Streets, New York. 
The Ladies' World, 25 1 Fourth Avenue, New York. 
McC all's Magazine, 236 W. 37th Street, New York. 
Modes and Fabrics, New York. 
People's Home Journal, 23 City Hall Place, New York. 



Designing for Arl-Needlework 21 

Pictorial Review, 111 West 39th Street, New York. 

Toilettes, 11 1 Fourth Avenue, New York. 

Vogue, 443 Fourth Avenue, New York. 

Woman s Home Companion, 381 Fourth Avenue, New 

York. 
The Woman s Magazine, 638 Broadway, New York. 

Ohio 
Today s Magazine, Canton. 

Pennsylvania 
Ladies' Home Journal, Philadelphia. 

Texas 

Holland's Magazine, Dallas. 

Canada 
House and Home, 347 Pender Street, West, Vancouver. 

B. C 
Canadian Home Journal, 59 John Street, Toronto, Ont. 
Canadian Home Needlework, St. Johns, Quebec. 

SYNDICATING YOUR DESIGNS 

T^HE syndicating of embroidery designs is a very lucra- 
^ tive business, but unless the designer has sufficient 
capital to go into it in a business-like fashion, and furnish 
the plates, it will prove a disappointment. 

Those who are interested in this method of disposing 
of designs should write to the VON Studio, which has 
prepared a special booklet on the subject. 



22 Designing for Art-Needlervork 

However, if the student has not the funds to finance her 
own syndicating, she will find that there are a number of 
syndicates which handle this matter as a business, either 
paying a good price for the designs accepted or a royalty. 

In some cases, by submitting neat designs done in India 
ink on bristol board, ready for the engraver's hands, the 
designer can secure a contract to supply designs for a year 
or longer periods. 

In interesting syndicates in your work, it is necessary 
for the designer to offer it to one concern after another, 
until she finds recognition, and make a name for herself. 
Perseverance pays, remember, and a few rejections should 
not discourage. 

Following are the syndicates which handle this sort of 
work : 

International Syndicate, Baltimore, Md. 

The World Color Printing Co., 714-16 Lucas Avenue, 

St. Louis, Mo. 
The Newspaper Enterprise Association, Chicago, 111. 
The Adams Newspaper Service, People's Gas Bldg., 

Chicago, 111. 
The Associated Newspapers, Sin-ger Bldg., New York, 

N. Y. 
The Union Syndicate Service, 450 4th Avenue, New 

York, N. Y. 
The North American Syndicate, Philadelphia, Pa. 



Designing for Ari-Needleipork 23 

ONE IMPORTANT THING 

'T^HE secret of success in anything is to keep a fresh 
-■■ stock of " enthusiasm " on hand for everyday use. 
Without this, no matter how talented the designer may be, 
or how gifted with originahty, she cannot attain the high- 
est point of success ; therefore, cultivate enthusiasm. This 
profession is worthy of enthusiasm, and it will reward the 
designer for the energy she has put into it. 

Also remember that to be really successful, the designer 
must have, besides an ability for art-needlework design- 
ing, the ability to sell the output, and unless she is SURE 
that her designs are as good or better than those of another 
designer, she cannot impress their worth upon prospective 
customers. 

This completes the VON course of lessons in applied 
embroidery designing. Facts which have never before 
been published are given in so simple a manner, and in 
such an originally arranged course of lessons that any one 
is able to succeed. 

If there has been any part of these lessons which have 
not been comprehensive to the student, theVON Studio 
would like to take the matter up with her, to the end that 
it may be made clearer. Mr. von Horvath stands for 
progress and wants to assist every one of his students 
along the highway of success. 

When additional information is desired, stamped en- 
velope for reply must be enclosed with the inquiry. 

With the treasure of many years' experience on Mr. von 
Horvath's part, which are herewith given to the owner of 
this course, goes the best wishes of the VON Studio for 
your future success. 



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Plate 1-a. 

This plate illustrates the four motif 
plates with motifs and motif groups 
numbered in consecutive numbers. The 
designs beside each plate illustrate the 
use of the respective plates and, by dis- 
tinguishing the motifs on the plates, of 
which these designs were composed, the 
student will gain an understanding of 
the use of the motifs. 






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Plate 1-b. 

This plate is designed to make the 
student better acquainted with the use 
of the motifs and it serves as a test for 
the instructor in finding the student's 
power of observation. 



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Plate 2. 

This plate illustrates the method of 
repeating or reversing of the motifs, 
produces design parts, in a way, almost 
mechanically, on account of the har- 
mony which is produced by the correct 
use of the motifs. 










Plate 3. 

This plate illustrates the rules of 
harmonious division. 

Figure I , single parallel. 
Figure 2, freely balanced. 
Figure 3, central division. 



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Plate 4. The Folding Method. 

Figures 1 and 2, first fold, called 
a-a crease. 

Figure 3, the b-b crease. 

Figure 4, the c-c crease in central. 

Figure 5, the c-c crease in parallel 
folding. 

Figure 6 shows the fact that the a-a 
and b-b are single folds. c-c is a 
double fold and d-d quadruple folds. 

Figures 7 and 8 fully explain the 
folding. 



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6. Triple Combination 




3. Irregular 




5. Circular and 1 




4. Irregular and Paral 




2. Central Reverse 




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1. Single and Double Parallel Reverse 



Plate 5 



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Arts and Crafts Style 





Mission Style 





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Mille-Fleur Style 



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Conventionalized Floral Style 




oral Style 



Wallachian Style 




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Combination Arts and Crafts and Floral 




Plate 7. 

Illustrates in Figure 1 a correct eye- 
let centerpiece in simple design. The 
single reverse method was used. 

Figure 2. Illustrates an oval in 
French embroidery. Double central 
reverse. 

Figure 3. Illustrates punch work 
design. 

Figure 4. Illustrates a net insertion 
design. 




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Plate 8. 

Figure 1 . Illustrates the folding 
method for double tracing a design. 
The numbers indicate motif numbers. 

Figure 1 -a is the finished result. 

Figure 2. Illustrates a floral cen- 
terpiece designed with the quadruple 
reverse method. 

Figures 3, 4 and 5. Show grouped 
motifs and teach the way to obtain good 
effects. 



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Plate 9. 

No. 1 . Examples of irregular forms 
such as cuffs and collars. Study the 
method of handling these closely. 

No. 2. Example of a bib. 

No. 3. An irregular buffet cloth. 

The other details on this plate are 
suggestions as to the use of the motif 
plates. 




Plate 10. 

This plate shows the one-third, the 
one-fifth and the one-sixth division. 
The angles from this plate can be car- 
ried over on cardboard and used as 
tools in the future to divide round 
articles into three, five and six equal 
parts. 

The other details show the grouping 
of motifs. 



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Plate 1 1 . 

Illustrates the ways to design for 
lingerie. 

Figure 1 gives details for a gown 
showing form of cutting pattern in I -a 
and l-b. 

Figure 2. A chemise drawer; 2-a 
and 2-b shows the cutting pattern. 

Figure 3. Infant's cape. 

The other details on this plate show 
other arrangements of the motifs. 



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